The 15 songs here chart a typical course through the American songbook, with paradoxically straight-faced camp, morose show tunes and orchestral chamber pop without the aid of an actual orchestra. [Apr 2012, p.96]

Teetering between genius and madness, Repo is a few hooks shjort of a successful fishing trip for experiemental music, left mostly with "experiemental" and not much in the way of traditionally defined "music." [Jun 2009, p.102]

Coxon's solo career has long suffered from the Bob Pollard syndrome of self-indulgent quantity over quality--a setback that, unfortunately, also plagues much of Happiness In Magazines. [Mar 2005, p.132]

A set track list and a few new tunes....[creates] a more well-rounded picture of the band than last year's smorgasbord. [Apr 2012, p.92]

What could have been a second coming of Stone Roses or even a newer New Order comes off like one big Spiritualized remix, light on the hooks, numbed by its own beats. [Apr 2002, p.82]

The cohesion that made their previous records so captivating has been significantly diminished. [Dec 2005, p.204]

It's important that albums like Ghost exist--but unfortunately, those albums don't always make the most enjoyable listens. [Aug 2004, p.116]

Sounds like every other disc Matador has released by them. [Oct 2004, p.134]

The second half loses momentum slightly. When in concentrated form, however, the Mountain Goats still manage to reach their peak. [Apr 2011, p.115]

It won’t satisfy the appetite of fans of the band that are salivating over the thought of a brand new album with Lindberg’s patented shout-sing back and leading the charge. But as a stopgap and look back at the band’s early years, Yesterdays is a rowdy Pennywise romp.

It feels a lot longer than it is, and that's a bad thing. [May 2009, p.115]

While their occasional reliance on wide-eyed sloppiness isn't endearing, when the band clean up, they have some irresistible pop nuggest in them. [Apr 2003, p.80]

Gimme Some is grounded in a guitar-based directness it seemed PB&J had left behind. [Apr 2011, p.118]

Sounds like a good Wallflowers record. [Mar 2003, p.98]

Boasts a sort of steady, creeping beauty, like a slower, groggier Failure without the loud arena bombast. [Nov 2001, p.97]

Ably backed by bassist Michael Cotterman (ex-the Loved Ones) and Andrew Black on drums, if there's any flaw to the Title Tracks formula, it would be that they could make a few moments more flawed. But that's just the Q And Not U fan talking.

Like vintage B&S, this Glasgow group's sound ranges from full-blown orchestration to tunes on which a lot of musicians make very little noise. [Mar 2004, p.94]

Taken alone, these six tracks are fascinating enough from a conceptual standpoint, and listening to a band audibly restraining themselves is quite scintillating. But it's hard to shake the feeling that these pieces would likely have a significantly greater impact when connected with the entire Testimony performance.

Everlast hints at a hip-hop amalgam of Johnny Cash and Howlin' Wolf, but only when being chased. [Jan 2001, p.88]

It's virtually impossible to listen to Show Me Your Tears from start to finish; but individually, each song is a dark, delightful peek at Black in the throes of therapy. [Nov 2003, p.108]

There's enough patented 'Pusher weirdness here to tingle your noggin. [Apr 2004, p.100]

Marks a slight improvement from 1999's Bury The Hatchet. [Nov 2001, p.79]

The hue of the proceedings feels significantly dialed-down and stark and the result feels more like a Jollett solo album and less like a great band flexing its myriad abilities. [May 2011, p.92]

Offers yet more fun funk/blues-rock mashups for unpretentious gatherings of all sorts. [Nov 2004, p.156]

It's still a blast to listen to Hot Hot Heat when they sound like they're having fun, even if they have to fake it. [Sep/Oct 2007, p.169]

The recording quality is awful, but the glee with which these legends dust off forgotten gems like "Never Been In A Riot" easily makes up for it. [Feb 2004, p.76]

Sound[s] equally as interesting, but rarely as essential, as the studio material from which it's drawn. [Feb 2006, p.120]

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