It's the type of record you rock before bedtime, and that by no means is an insult. [Jul 2007, p.184]

The majority of the tracks are watered down reminders of their indie big brothers. [Jul 2011, p.107]

Bruiser is at its best when its tempos are insistent. [Apr 2011, p.114]

Shogun's assembly and architecture is devoid of the lively attack and emotional elan necessary to make this a true entry into the pantheon of heavy-metal long-players. [Nov 2008, p.158]

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]

Unfortunately, the songs still suffer from the same downfalls as their previous material; the album lives in the safe middle ground between Shadows Fall and Underoath. [May 2011, p.96]

Cruel World's glitchy electronic sound, reminiscent of his solo work on Anticon, sometimes makes it hard to tell there's a band involved. [Aug 2011, p.122]

For some reason, the Stooges decided to get moody on a trio of acoustic-based tracks, letting their singer respond by going into full on crooner mode. That sort of twaddle may fly on Pop's solo records, but when they go up against the slinky, deep pocket grooves of the rest of the album, the songs feel pale and hollow.

[Dalley] repeatedly dilutes Leave Your Name with empty atmospheric exercises in barely-there vocals and shimmery keys. [Feb 2004, p.80]

In Waves hits some high notes with solo-heavy scorchers, but bury them seven tracks deep is as dumbfounding as their guitar work is breathtaking. [Sep 2011, p.120]

"Gonna Be Free" is a solid tune, but not strong enough to save Circle from mediocrity. [Aug 2012, p.88]

Mo Beauty becomes difficult to wade through as Ounsworth ventures further from his indie-rock roots. [Nov 2009, p.114]

It's a fun album, full of off-kilter, electro-tinged grooves. Trouble is, backpacker/conscious/positive hip-hop is every bit as cliched as the most unthinking gangsta rap. [Apr 2008, p.163]

Had these songs been released a decade ago, they'd be a sensation. Today? Nah. [Jun 2014, p.105]

Where, say, Franz Ferdinand can fill dance floors with a jagged, arty sense of danger, the Bravery are more vanilla in their approach (read: They're Duran Duran). [May 2005, p.132]

The band takes a few sucessful detours on Chase This Light, but by and large, it's more of the same. [Nov 2007, p.172]

The biggest failure of This Is PiL, sadly, is the band's centerpiece: Lydon. As fine as he can be (see again "Deeper Water"), he sounds downright unhinged. Not in the puckish, sinister way that made PiL live albums so bracing, either-no, his work here sounds tossed off, and too often just plain off.

They make OMD sound like Joy Division. [Aug 2004, p.124]

Long Live The King, by comparison, sounds distinctly like a cutting-room-floor exercise--a collection of outtakes left behind not in the name of aesthetic cohesion, but simply because the group had better songs more deserving of release.

Despite some missteps, Icky Blossoms would fit on a playlist between Archie Bronson Outfit and Bloc Party. [Aug 2012, p.90]

When Red Bedroom ditches the choppy guitar riffs... the results are as much of a buzzkill to Bedroom's jumpin' vibe as cops busting up a raging house party. [Aug 2004, p.116]

They’re ultimately relatable and endearing enough, even though the most jaded of listeners will still roll their eyes at the smarmy nostalgia (“Too Young To Feel This Old”) and new-era YOLO sentimentality.

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

At times, the album gets a little precious, but the more inspired moments are truly undeniable. [Jun 2007, p.156]

Even if Banks sticks to the "I've got two secrets but I only told you one" songwriting approach, hopefully a band shakeup will spark the soulfulness only occasionally heard in his contributions. [Oct 2010, p.118]

It all combines for an enjoyable listen... provided you block out the lyrics. [#146, p.102]

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

How many times can rock return in one year? [Jul 2003, p.122]

Idlewild undeniably sound like a once-great band helplessly slipping into their confusing middle years. [Sep 2005, p.164]

'Always Do' is the pinnacle of this record's minimal momentum; it's a leisurely stroll past the mediocrity of te album's second half (with the exception of the bluesy cadence 'Hair Don't Grow'). [Nov 2008, p.151]

Much of the material begs for memorable melodies, perhaps a bit of a rave-up or divergent musical moment would have helped. [Jun 2009, p.103]

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]

There's nothing that leaps out as brilliant, just like there's not a single example of the band trying something genuinely risky and new, and falling on their collective face.

Though fast and dynamic, it's just not exciting in the way it should be, and it's impossible to shake the feeling that something is missing. [Jul 2013, p.96]

It's not bad, but it is slightly disappointing. [Jul 2013, p.102]

At their best, the churning rhythms, swirling synth and vocals suggest Animal Collective digging through a crate of DFA Records. [Mar 2014, p.94]

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

Makes you scratch your head as much as nod it. [Dec 2004, p.162]

It's a bit unfortunate that the Irishmen decided to keep their songwriting and musical prowess stagnant. [Mar 2007, p.143]

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]

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

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

It's ain't perfect, with some primitive playing popping up at inopportune times. But if you're after a soundtrack for these late summer months, look no further than Lost Control. [Sep 2013, p.88]

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.

Occasional missteps keep X.O. Experience from being a bottle of the top-drawer stuff, though it'll still leave you with a good buzz. [Aug 2001, p.91]

It lacks the spark of the band's classic catalog material. [Apr 2007, p.191]

They play things way too safe... which makes for a rather boring listening experience. [Mar 2007, p.142]

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

An album that hangs together surprisingly well. [Oct 2002, p.90]

It makes for a fairly entertaining show if you're willing to put down your hot wings for a second to sep outside to watch. [Nov 2008, p.162]

Secret Machines is a bit of a misstep, failing keep their languid, explorative tracks from growing dull. [Dec 2008, p.148]

While Twelve's not an unlistenable record by any stretch of the imagination, it just begs the question: What's the point? [Jun 2007, p.158]

On The Constant, SOTY have shown they've mastered their current sound. Here's hoping for a little more experimentation next time. [Mar 2010, p.95]

Sweet and insubstantial. [Nov 2004, p.140]

Even if Oxeneers doesn't move you, it'll surely floor you. [Dec 2004, p.157]

It all boils down to the simple question of which songs grab you, so there are certainly reasons to give Appeal a whirl and decide for yourself. [Nov 2008, p.151]

dios (malos) is missing something--namely, guitarist Kevin Morales. [Dec 2005, p.212]

What used to feel timeless now just feels tired. [Jun 2004, p.107]

The album's middle drags, and as original as they sound on their own, the songs become monotonous by the album's end. [Mar 2004, p.96]

Tortoise sound remarkably un-Tortoise-like on nearly everything... [and] Oldham's stunning vocals are rarely allowed the space they deserve. [Mar 2006, p.126]

Banks is a dense (and sometimes prickly) listen that's not immediately accessible, although it rewards those who give it time. [Nov 2012, p.86]

Much of the album is comprised of moiody, softly undulating numbers whose beauty is offset by a frictioness drift which prevents them from truly taking hold. [Dec 2009, p.108]

The main frustration with Meyrin Fields is that neither artist seems hindered individually, only lost to elevate his respective partner in a meaningful way.

It still feels like they have a bit more work to do before their albums are consistently exciting from start to finish. [Nov 2009, p.109]

The songs themselves are sturdy and powerful, with the right mix of ebb and flow, and ample chug-chug parts for the pit monkeys.

My Shame Is True winds up feeling like white noise more than anything else. [May 2013, p.84]

If the album has a flaw, it's a lack of structure and differentiation; as the music progresses, songs become less distinct and less compelling. [Mar 2015, p.90]

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.

A feel-good collection of (mostly) poppy songcraft. [Aug 2001, p.103]

Although a bit more of that energy [on tracks like "Your Head Got Misplaced" and "Sick And Impatient"] would've been welcome, Youth is still a lush, inventive listen great for headphones--just not stage-diving.[Jul 2013, p.96]

One-dimensional and full of tired tunes. [Sep 2002, p.81]

It's nice Walla's doing his own thing, but it's also clear from Field Manual that in terms of his main band, credit has always been given where credit was due. [Mar 2008, p.141]

With a deeper, more mature sound, Halfway sounds like the work of a producer in mid-career crisis making music inspired by the dancefloor, but not shackled to it. [12/2000, p.89]

There's always been a heavier influence in the band's music, but on Arrows & Anchors, their ambitious desires to step outside the genre box often get bogged down in a sea of down-tuned guitar and maudlin lyrics.

While their weird is very often wonderful, these 10 tracks are somewhat inconsistent. [Oct 2014, p.98]

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]

[Often the album] leads to pleasant but forgettable songs, leaning toward Britpop.

There are hints of something fresh on There's Nothing Wrong With Me. [Dec 2014, p.106]

¡Tré! feels scattershot and slapped together, making it difficult to enjoy on its own merits.

The songs sound more like a collection of B-sides than a new album. [Dec 2006, p.206]

Succeeds only as an inessential novelty. [Jan 2004, p.98]

While they are accomplished musicians and combine their growling, death-metal-influenced moments with a wealth of shiny hooks, they fail to do so in a way that counts. [Feb 2012, p.84]

The sound of an artist losing the qualities that made him unique to begin with. [Apr 2006, p.216]

Chirpin Hard makes you feel like you're getting chased by a swarm of giant mosquitoes in a scrolling Mega Man hellscape circa 1992, while Church Gone Wild is a nerve-shattering whirlwind of atonal chaos. [May 2005, p.168]

Channels the spirits of no wave via clinks and clanks, doomy vocal chants, ominous tribal thumps, abstract guitar scraping and jarring haunted-forrest samples. [Mar 2004, p.110]

There’s a good deal of filler on In A Warzone, to be sure, but fortunately there are still some rewards awaiting those who stick it out.

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]

A cluttered, derivative mess. [Dec 2006, p.200]

The humor practiced by Black and cohort Kyle Gass hasn't evolved much since [2008's "Pick Of Destiny"]; Fenix is loaded with classic-rock-aping material which simultaneously admires and lampoons everything from Star Wars ("Deth Starr") to organized religion ("Throwdown").

The overall ambition is commendable, but perhaps a better plan of action would have been to strip the story completely, cull together the album’s best songs and instead close the EP trilogy with a stronger, shorter release.

Despite its pristine arrangements, Colonia turns into sonic NyQuil about halfway through, and ends up a low-day--albeit impeccable-sounding-listen. [Jun 2009, p.102]

Jaill's pacing and musical phrasing feels noticeably lethargic. [Jul 2012, p.94]

The album sounds, not surprisingly, overproduced, lacking even a hint of the earthy quality of 'I Do Not Want...' and leaving little space for O'Connor to stretch out vocally. [#146, p.96]

There's very little here to grab the listener. [Nov 2007, p.162]

Fire's beauty often feels distant and untouchable. [Sep 2005, p.164]

Some Loud Thunder isn't without its successes--but it is defined by its failures. [Feb 2007, p.114]

You'll probably get annoyed after about 30 seconds. [May 2005, p.138]

Other than the booming, Devo-ish vocal effects on "Spacetime," these songs aren't pushing the envelope--but you should still tear it open and look inside. [Aug 2011, p.114]