Coheed's fourth album simply doesn't deliver on the suspense that's been loaded into it. [Nov 2007, p.155]

Too many tunes struggle to remind listeners of their catchiness. [Aug 2005, p.166]

Musically, it doesn't seem like Chan has gone anywhere. [March 2003, p.88]

Overall, the Beeps still seem like a work in progress. [Nov 2004, p.140]

Contains three best-of-year-brilliant songs. [Mar 2006, p.124]

They weave simple, childlike melodies that slowly grow into full-blown opuses.... A surprisingly innovative album that sees them swimming forward instead of treading water. [#153, p.76]

South are at their most compelling when they apply the aesthetics and methodology of dance music to their epic rock music. [Mar 2002, p.88]

With a handful of vibrant songs that match either a late-night lounge vibe, or elevate their retro-country game, the album's only major flaw is forcing too many drastic costume changes on their angelic voices. [Mar 2010, p.98]

The 10 drone-y songs on Brightblack Morning Light sound more like a soundtrack than a traditional album. [Aug 2006, p.206]

Heart On is on par with the band's previous efforts when it comes to ultra-swarthy innuendos. [Dec 2008, p.146]

Takes a step back to the crossroads of the accessible and the head-scratchable. [Oct 2004, p.148]

They're so busy crafting the perfect pop song... that they've made a uniformly dull album. [Sep 2003, p.102]

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]

Not every song hits the mark, but the Monkeys should be applauded for spreading their wings and not dropping like stones. [Sep 2009, p.100]

Building on the same base that made his early material brilliant (a love for both odd sounds and cheesy pop), Warren has painted himself into a musical corner: knowing its hard to get any listener to swallow the same thing repeatedly outside the mainstream market, but also wanting to indulge his muse. [#151, p.78]

For now, this stands as another good if inessential addition to their catalog-a phrase that, for better or worse, applies to the majority of their output.

For the target audience, such education lines as "K is for kid fart/L is for long and loud farts" will leave house apes wondering what the fuck they ever saw in "Wheels On The Bus." [Oct 2008, p.153]

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]

While all the riffs and parts are brillantly performed, they rarely if ever repeat one, and none stick in your head after the band is gone. [Dec 2009, p.108]

The best songs are, as usual, the weirder ones... Elsewhere, Balls spends too much time riding the same quirky-dance autopilot that has fascinated Sparks since the late '70s. [Jan. 2001, p.102]

Both Sole's most accomplished album and his least distinctive. [Apr 2005, p.130]

The album runs out of steam toward the end, but the first few tracks are gold. [Nov 2009, p.109]

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

Educational and motivational. [Jul 2003, p.126]

Call it growing pains for a storied discography, but the result leaves the album feeling unbalanced around the gems and less rewarding over multiple listens. [Sep 2014, p.110]

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]

Lewis still sounds like she's trying to figure out where she belongs. [Feb 2006, p.118]

For the most part, the band's jagged guitars and bludgeoning backbeats play by the punk rulebook. [Jul 2006, p.186]