Taken individually, Damon & Naomi's songs possess distinct personalities.... However, when consumed as a whole, The Earth Is Blue metamorphoses into a thin musical mist. [Apr 2005, p.116]

Unsound falters on ragged tune such as "Sectionals In Mourning" and "Semi-Pseudo-Sort-Of-Plan;" these songs feel far too much like half-finished rehearsal takes that could use some tightening. [Aug 2012, p.92]

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

Medicine is certainly a cohesive and mature outing, but it isn't nearly as fun as the band's previous shenanigans. [May 2004, p.102]

Krug tests the patience of even the most tolerant listener via a convoluted and self-indulgent mess of music that occasionally--and seemingly accidently--stumbles across moments of brilliance. [Nov 2007, p.163]

Images Du Futur lacks the structural rigor and focused ideas of [Clinic], which prevents the album from having a strong impact. [Apr 2013, p.90]

This is strictly a headphone listen--or, more likely, non-listen. [Nov 2010, p.108]

All Around doesn't take you anywhere, but it does make where you are a little bit brighter. [Aug 2003, p.105]

Although M83's ambitions are often great, there is a problem here: Before The Dawn often drags its feet. [Mar 2005, p.138]

The saccharine harmonies are still present on the title track; they're just augmented with more expansive arrangements that bring out a welcome new dimension to the band's sound. [Apr 2011, p.114]

The high points find the Men melding their overmodulated past with their new melodic obsessions. The low points render the band mere pretenders to outfits like Guided By Voices and Spoon. [Apr 2013, p.90]

[It] comes off as another Albarn project that's neither amazing or anathema. [Feb 2007, p.122]

Sounds anemic. [May 2005, p.138]

My Morning Jacket no longer sound like a band of curious adventurers perpetually at odds with their former selves, and consequently deliver an album that plays like a sort of kid-in-a-candy-shop, take-a-little-of-everything thrill ride. Predictably, results vary.

Only the album-ending title track tones down the noise, and even then, it's about as restrained as early Husker Du. [May 2005, p.132]

Farm isn't the kind of Dino record that has a keeper single like 'Start Choppin'' or 'Feel The Pain.' Instead, it boasts some of Mascis' biggest departures under the Dino name. [Aug 2009, p.110]

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

Occasionally, Roderick gets in the way of himself and makes the proceedings more difficult than they should be. [Sep 2006, p.214]

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]

Costello clutters many fine compositions with kitchen-sink arrangements and cacophonous production that bring into focus how sorely missed estranged Attractions bassist Bruce Thomas is throughout. [Jun 2002, p.75]

A highly charged and welcome return. [May 2011, p.93]

Another World is only for the devoted. [Jan 2008, p.124]

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]

There are few hooks to grab the ear or inspire repeat listening. [Apr 2002, p.86]

I Bet On Sky can feel a bit sleepy--although noise-cracked solos and psychedelic-quicksand riffs ultimately keep things lively. [Oct 2012, p.88]

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

Too much of Human Hearts feels like a retread of what they've already done on previous LPs. [Apr 2011, p.115]

If vocal distortion is to indie rock what the vocoder is to commercial pop, then Pleasure Forever's Alter is Sub Pop's answer to Cher's "Believe." [Jun 2003, p.97]

The only thing missing is Gibbard's unique voice--well, that, and the solid songwriting that made the Postal Service's Give Up a classic, rather than just a pleasant listen. [Mar 2005, p.122]

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

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

The first De La Soul full-length lacking a consistent vibe throughout... [#147, p.81]

Five years later, it's easy to be blasé about [Aidan] Moffat's disgruntled first-person narratives. [#154, p.68]

Sadly, one can hear decent tunes struggling to get out of this mess. [Nov 2001, p.78]

They sound like Devo playing Nazi military waltzes. [May 2005, p.138]

Organic improvisational acts instinctively know which sonic snippets to expand--Lake Trout need to rediscover this ability. [Oct 2005, p.156]

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.

After four very similar albums, they seem to be in danger of painting themselves into a corner. [Jun 2003, p.93]

A barrage of unfocused fragments that prove this album should have been condensed into a seven-song EP. [May 2004, p.96]

The results of this experiment is decidedly mixed. [Oct 2014, p.101]

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

They focus too little on well-made songs and too much on creating an angst-ridden atmosphere. [Jul 2002, p.78]

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]

Most of the songs... aren't nearly as interesting as the album's title, offering only random snippets of truly engaging music. [Sep 2005, p.156]

This disc contains some intriguing moments. [Apr 2002, p.74]

The CD's air of politeness pushes this pleasant pop music into the background. [Oct 2002, p.92]

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

Where the band struggle is writing memorable tunes. [May 2014, p.91]

Face Tat demands remarkable attention from its listeners; if only Hill would have challenged himself as much during its creation. [Nov 2010, p.112]

It peaks on 'Coffee,' a wonderfully weird, ska-tinged duet with the Mountain Goats' John Darnielle that flat out rocks. [Oct 2007, p.170]

The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

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]

For Matchbook Romance, Voices is adventurous. [Mar 2006, p.122]

On paper the choice of Jon Brion, a musician and engineer best known for his work in film seemed perfect, but unfortunately it didn't temper Barnes' misguided vision to be the indie-rock Prince. [Oct 2010, p.116]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

If you read The Wire, you probably already own [Kesto], but if you don't, don't bother. [Jul 2004, p.148]

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

The Montreal group's full-length debut, Some Are Lakes, frustratingly lacks that energy, as well as "Boo's" memorable afterglow. [Nov 2008, p.155]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

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

IWABO prove there's some actual technique beneath their gimmickry. [Aug 2011, p.118]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]

It means "Everything You Think You Know," "Smoking Kills," and "Day Man," while not bad, do feel slightly generic, which unfortunately diminishes the power of these well-intentioned, heart pounding songs. [Oct 2014, p.98]

For anyone familiar with these progenitors of glam punk, 'Cause I Sez So won't surprise. [Jul 2009, p.130]

Overall, the songs are well-written and daring. Some tracks are more successful than others (”Where Did It Go?” and “Vultures” are standouts), but it is an altogether engaging listen.

This heart-cleansing vulnerability renders much of Final Straw's latter half monotonous. [May 2004, p.96]

You'd be hard pressed to find a more confessional album released this year. [Dec 2003, p.142]

Longtime Black Lips fans will notice a more polished production compared to past albums, but it also seems apparent that these boys have barely begun to scratch the surface when it comes to showing us what they've made of. [Nov 2007, p.170]

Ultimately unremarkable. [Jul 2004, p.134]

Mostly stuck in a low gear. [Dec 2003, p.156]

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

It's surprisingly how generally lukewarm the music is on Newman's sophomore effort, Get Guilty. [Feb 2009, p.103]

What sounds like leftovers from Miller's last solo effort and bizarre surf-rock-inspired numbers rear their ugly heads, leaving these Lone Star Staters in jeopardy of repeating the grade. [July 2008, p.158]

The feeling isn't sucked out yet, but the focus is. [Sep 2002, p.92]

Has an infectious energy that keeps things from growing stale. [May 2002, p.84]

It's a clear sequel that continues the character profiles and storylines frontman Rhett Miller created last time around. [Aug 2011, p.118]

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

It's a decent disc that'll simultaneously satisfy your cravings for pop music and the avant-garde. [Dec 2008, p.153]

While the album has bright spots, overall it feels a bit dull and without the spark that made 1998's "Midwestern Songs Of The Americas" so fresh and exciting. [Dec 2008, p.132]

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

At times, borders on unlistenable. [Nov 2004, p.146]

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

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

Pleasant, if not very gripping... [March 2001, p.70]

Happy To You's charm does wear off in repeated listens, though, resulting in an album that's enjoyable, but far from life changing. [Apr 2012, p.96]

Crystal Castles is gloriously danceable and hopelessly chic. But really, it's... hearing only...judging is... you know? [Apr 2008, p.162]

More Light... burns with a raw intensity, albeit sandwiched between moments that recall Mascis' acoustic and goofy backwoods major-label work. [Jan 2001, p.94]

The subject matter may be a bit heavy, but the beats keep it bouncing along. [Jul 2001, p.73]

For a young, non-jaded Pantha Du Prince fan, though, this could resonate yet.

A bit too cleverly loaded with cultural critiques, winks and nods. [Apr 2006, p.207]

Second-rate Shins. [Aug 2005, p.164]

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]

This record possesses a contagious energy that exists not in lieu of a hook but actively as the hook. [Feb 2013, p.90]

While Apocryphon might be the band's push toward the future, let it also exist as a funeral dirge for the band's more vibrant and rule-breaking past. [Nov 2012, p.94]

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]

Rogue Wave now resemble a more earnest Flaming Lips. [Dec 2005, p.204]

The bulk of Somewhere Gone brings to mind a bummed out, burned out Neko Case. [Nov 2009, p.109]

The collection is loosely held together by vintage production, making many tracks feel like distant AM radio transmissions. [Apr 2013, p.86]