Doo-wop-inspired harmonies lend a barbershop charm to the Chicago quintet's earnest and energetic pop-punk sound, though the retro styling of World occasionally comes off as more tired than inspired.

With primarily organic instrumentation and warm, low-fi production, nothing is forced--although in some instances, the tracks feel a little too barren, and overall there's not much to distinguish between the songs. [Sep 2009, p.108]

In comparison with many imitators, Tanaka does what he does well... [Aug 2001, p.88]

The record tends to fade into the background and become something so indistinct that it's forgettable, even after multiple listens.

Monochrome is marred by Hamilton's vocals. [Sep 2006, p.218]

At its best, the disc forges a middle ground where trebly guitar power is fortified by the electronics, resulting in a new propulsion. At its worst, the disc is as meaningful as "superstar DJ" sets, designer drugs and having your picture taken by the Cobrasnake. [Feb 2009, p.99]

Title TK isn't awful, but it's too zoned out to draw you in. [Jun 2002, p.71]

Occasionally get[s] a tad too close to Jamiroquai territory. [Nov 2005, p.226]

Unfortunately, the pretentious spoken-word ramblings, corny hooks and unremarkable trance put Maas, along with Paul Van Dyk and BT, in a less illustrious category: top-notch DJs with second-rate albums under their belts. [May 2002, p.90]

Hit or miss. [Dec 2003, p.154]

Choosing to keep the songs dark and dreary bogs down Mini Mansions. That criticism aside, the band know how to craft a song, letting it build and drop when necessary. [Dec 2010, p.114]

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

Burn The Maps' muted vibe demands that you turn down the lights, fire up the candles and listen hard. [Mar 2005, p.132]

Not as memorable as Tarwater's peers like The Notwist. [May 2005, p.138]

The band have thankfully corrected course for their self-titled sophomore full-length, but Forever The Sickest Kids is still a frustrating listen at times.

Phantom Planet are shooting for something a bit less sunny here than their last outing. [Mar 2004, p.106]

It's ultimately Costa's expressive, bluesy vocals that set her apart from other singers and make Something such a promising debut. [Jul 2001, p.63]

These offerings feel uncharacteristically flat. [Apr 3015, p.92]

The abundance of derivative electronic tricks diminishes Beautiful's successful updates of Garbage's sound. [Nov 2001, p.73]

If helium-filled kitsch 'n' synth tunes float your boat, this CD will satisfy. [Sep 2002, p.87]

Much of the disc is business as usual. [Oct 2007, p.169]

The dozen synth-and-drum-machine-laden tracks that make up Hologram Jams range from percolating to breezy to nostalgic to inescapably annoying as hell. [Apr 2010, p.123]

A disheveled collection.... Westerberg's muse seems to switch on and off, from inspired to bored. [Jun 2002, p.90]

Frontman Colin Newman's pointed lyrics can be gloriously dry and the measured melodies of the songs are fine. [May 2015, p.102]

If Love Drunk's overall enthusiasm and high-energy pop doesn't win over even the snarkiest of reviewers after a few listens, then they probably don't have a heart. Everyone else will love it anyway. Pop-rock like this is popular for a reason.

Lonely Road thrusts RJA away from being categorizeed as a "scene band," instead jouneying deep into the realm of radio-oriented modern rock. [Mar 2009, p.110]

The lyrics can be heavy-handed--images of greed, violence and the apocalypse dominate, with varying levels of success--but the danceable beats and grungy atmosphere make Corpus the ideal soundtrack for debauchery in the face of economic depression. [Mar 2009, p.112]

Octahedron will appeal to elderly prog fans immune to attention deficit disorder, who have the patience to let its charm gradually unfold. [Aug 2009, p.111]