The London-based compulsive hair-dyer follows 2007's soulful breakout "The Magic Position" with the luxurious sounds of The Bachelor, the first half of a double album to mixed results. [Sep 2009, p.108]

Their fourth album, Right Thoughts, Right Words, Right Action is just as resolute as the title. [Sep 2013, p.88]

The Menzies score big about half the time. [May 2014, p.93]

Mediocre. [May 2007, p.162]

Though the album gets too repetitive, the uniformity of Acolyte still serves the band's purpose: Make the floor move.

Even [Haines'] coos about war can't make Live feel urgent or save its slanted art-rock outbursts. [Dec 2005, p.214]

Most of Boroughs feels like they're sampling themselves. [Aug 2004, p.120]

Offers few intriguing instrumental twists and only the faintest percussive pulse. [Aug 2004, p.106]

Fans will love it, but if you're not already on board, this album won't change your mind. [Oct 2007, p.169]

Like Creeper's previous albums, Take Back The Universe is a delicate piece of criss-crossing jangles and loose-limbed riffs, but the shimmery sprawl never coalesces into anything concrete. [#154, p.73]

The Invisible Band has more layers, more moods than ever before, and more tunes as well. [July 2001, p.88]

III/IV is the director's cut of a moment in Ryan Adams' all-too-prolific career. It adds dimension in some areas, but may be too much information for causal fans of the singer/songwriter.

While the musicianship is first-rate, the middling tempos and docile, homogenous instrumentation quickly grow boring. [Oct 2002, p.94]

On Disco Volante, [David Gedge] sometimes becomes as tedious as a typical pick-up line. [Jan 2001, p.86]

The instrumentals falter. [Jun 2004, p.97]

A reliance on monotonous tempos and rhythms--and a disappointing lack of melodic variation--further make Endless Now fell curiously lethargic. [Sep 2011, p.112]

Lacking the hyperbole of, say, Chemical Brothers or the musicality of more band-like fare like Crystal Method, he finds a middle ground of giving-and-taking frequencies between his twos and fours, as if mixing it live. [Sep 2001, p.104]

The trouble is that their debut album is saturated with the kind of contrived angst that seems to always maintain a level of popularity with upper-middle class white kids who don't pay their own bills yet. [Mar 2009, p.107]

The effortless pop smarts are appealing, but the Ruffians will need to vary the delivery if they're expecting a career. [Mar 2008, p.144]

The ominous charm that had fans nose over tail is not completely lost in Agony & Irony. [Aug 2008, p.156]

Much of the album reflects a tension between melancholia and euphoria that sounds more like an epic battle between Fischerspooner's love for New Order and Pet Shop Boys--but with beefier, disco-fied beats. [May 2005, p.174]

With this soft-spoken and delicate record of almost-drawling songs, he's moved his work one step closer to Nashville. [Mar 2002, p.81]

World Peace is a frustrating experience, moving too quickly between temperaments and overstaying its welcome by a good 20 minutes.

Telepathe should be appauled for making a challenging record; though it frequently doesn't hit the mark, there's plenty for fans of minimalism to get excited about. [Mar 2009, p.116]

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]

Like Merzbow jamming with a broken dishwasher through a short-wave radio. [Nov 2004, p.146]

The music you'd imagine might play as you ascend to heaven--or the soundtrack to the WB's next teen drama. [Aug 2004, p.118]

This husband-and-wife team have made the same album for the third time. [Nov 2003, p.100]