These four songs fulfill expectations for minimalist, rhythm-based deconstructions of genre. [Feb 2010, p.93]

There's generally more of the same here, but Doves' alternate influences this time around... don't exactly add up to a great band "stretching out." It's more like they're grabbing at straws. [May 2005, p.134]

Unfortunately, everything is so finely polished on Alternative To Love that his brand of rock lacks any grit. [Apr 2005, p.124]

The Lemonheads is the album Dando should have made 10 years ago, and poppy punk ain't what it used to be. [Nov 2006, p.200]

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

If he isn't a sage yet, he does sound like a future star. [Feb 2005, p.94]

While Boo! is far less indulgent than JOA's most experimental records, it remains a far cry from Kinsells's earliest work in the mid-90s emo forefathers Cap'n Jazz. [June 2008, p.131]

Considering how strong a songwriter Bazan has proved himself to be on the last few Pedro discs, the results here are mildly disappointing. [Jun 2005, p.164]

While Personality is all masterful and ambitious, nothing really sticks in the end. [Sep 2006, p.232]

A scappy but lovable collection of power pop. [Oct 2008, p.152]

Repetitious choruses and monotonous, middling tempos make the songs blur together. [Oct 2003, p.126]

All too often it feels like the band are ignoring the part of their name that gives them carte blanche to experiment and toy with expectations.

A bit flat. [Jan 2007, p.131]

Only the blindly in love will fully appreciate Suitcase, which is chock-full of bruised and blemished tracks, though it's not all throwaways. [#147, p.94]

Yes, it sounds like Yes, and, no, I don't mean that in a good way. [Nov 2003, p.99]

There's nothing surprising or too far outside their comfort zone.

Tracks like "Terra Firma" evoke every new-age-groove cliche imaginable, from Gregorian chants to pan flutes to politely understated hip-hop beats. [#152, p.74]

Considering how much it costs to get Rick Rubin in the producer's chair, it's no surprise Gogol Bordello aim for something beyond full-throttle drunken mayhem on Trans-Continental Hustle. Those worried the party is officially over can rest easy, as "Break The Spell" and "We Comin' Rougher (Immigraniada)" show Gogol Bordello haven't completely forsaken four-on-the-floor folk punk. [June 2010, p.105]

Although a less consistent effort as a whole, Time Bomb is a lot more fun than its predecessor and suggests capacity for songcraft not evident on the band's debut. [#154, p.66]

The collection as a whole has a transitional feel, as though Jamie T is still finding his way between the two poles of his primary inspiration. Yet with his propensity for both engaging storytelling and hooks, he's too talented not to figure it all out in spectacular fashion.

At times, the disc trades solid shoegazing for a slip into blase modern rock, with songs that beg for broadcast next to STP and Third Eye Blind; ultimately, however, Gwenmars' recasting of the dark British sounds that lent depth to sunny American movies is intense and compelling. [#153, p.75]

Unfortunately, as with many Verve albums, Bar's dreamy tempos and strung-out riffs, while fragile and beautiful, start to fade into a middling mess of sameness around the middle of the disc. [March 2003, p.98]

Avenged Sevenfold is so all over the map musically and lyrically, it's difficult to decipher whether it's pure genius or the most convoluted mess of music you'll hear all year. [Dec 2007, p.178]

Between the bloated song lengths and repetitive arrangements, What Angels & Airwaves really need for LP3 is an editor. [Dec 2007, p.184]

The music, more polished and synthetic than ever, is fine.... But too much of this album comes off like self-parody. [Oct 2013, p.92]

Misguided in points, Contra shows a more accomplished and daring Vampire Weekend--albeit a less endearing one. [Feb 2010, p.97]

While the positive vibe is admirable, there's just not much substantial to grab on to--and few songs linger after the album's over.

The Fratellis may have simply have heightened our expectations by sounding too good too soon. [Aug 2008, p.170]