Almost half of the album is bolstered by huge beats and pulsating bass. Even so, the disc's bet tracks are the ones that don't employ this formula. [Sep 2012, p.92]

While not everything is successful on Boxes--for example, the midtempo, electronic-burnished "Lucky One" tries too hard to sound modern--every song has seamless arrangements and a distinctive approach.

A pair of seemingly dated numbers aside, Disconnection Notice makes for a solid and surprisingly cohesive listen. [Mar 2005, p.118]

This 10-song effort will almost surely be a part of the soundtrack powering every block party, barbecue, summer shindig--and certainly toward the dance floor. [May 2015, p.98]

Johansson sounds more in her element in this one, starting off strong with the bittersweat bounce of 'Relator.' The only misfire on Break Up is an overly arty rendition of 'I Am The Cosmos' by Chris Bell of Big Star. [Oct 2009, p.115]

The release does establish Simple Plan as on e of the most consistent acts making music today. [Feb 2008, p.109]

Gone is the rock'n'roll grit reminiscent of '70s Detroit rock, and in its place is a stylishly tailored sound more akin to '60s California pop. [Sep 2004, p.136]

Good Charlotte are multi-platinum scene superstars, but Cardiology might just be their best effort yet. [Nov 2010, p.112

Unflinchingly heavy, this midtempo metal won't disappoint believers. [June 2003, p.101]

Owl City's second major-label effort is much more mature, dynamic and well-rounded. [Jun 2011, p.109]

Consistent--and consistently funny. [Apr 2005, p.124]

The album as a whole sweeps across a broad range of stylistic tones, maintaining levity while dabbling in comparably serious musical pursuits. [Aug 200, p.146]

Recorrupted's five tracks make for a solid stopgap release.

The whole thing possesses the air of a woozy reverie, a gentle disengagement from reality. [Jun 2007, p.162]

Hiller's sense of humor and eclectic tendencies make this recording a deep listening experience. [March 2001, p.81]

The eight tracks here defy formula, instead feeding off of one another in a cannibalistic frenzy of samples and constantly shifting beats... This is a deceptive and brilliant album. [#147, p.98]

As the follow-up to 1997's III, Effector succintly incorporates that disc's pristine sheen and futuristic atmospherics, while moving into more quirky, funk-laden territory. [12/2000, p.94]

Not a true turkey in the bunch. [#153, p. 83]

At an age when most of his peers have ceased to be relevant, [Richard H. Kirk] continues to forge highly charged music that seethes with vitality. [#147, p.89]

On this disc, which collects tracks from three limited-edition singles and adds a few bonus cuts, the group shows their range even more effectively through carefully (and wisely) chosen covers.

What Happens in Hell Stays in Hell finds the trio beefing up their sound without betraying the genre. [Sep 2011, p.116]

Am I The enemy is their second-best album and a reason to believe in a brighter future. [Sep 2011, p.120]

In Reno especially, the Skulls' Agitation is one of the safest bets a punk can make. [Oct 2011, p.106]