If Tangiers perfects its poppier maneuvers and smartens up a bit lyrically, something special could be down the road. [10 Dec 2005]

What has become increasingly clear is that Devendra Banhart needs an editor.

Overall it's rather tough to get a grip on what they're getting at.

16 songs of stalwart Stones riffs that almost compensate for generally embarrassing lyrics. [10 Sep 2005]

The Coral's trade has made them less rumbling and more meandering, more coherent but less mysterious.

No matter how hooky things get, the Warlocks tend to bury each song in the same multi-layered haze of feedback and distortion, as if sheer decibels are the sole element holding everything together.

With a few notable exceptions... inspiration is just what this album lacks.

Things start out strong... [But] the rest of the material is basically an easy-listening version of the band, with vocals weak enough to be distracting and an over-reliance on multilayered, kitchen sink production. [20 Aug 2005]

Beyond a few faster songs ("Paper Jesus," "Falling"), the album gets lost in its own blandness. [13 Aug 2005]

There's an overriding sense of preciousness that permeates "Mr. A-Z," and a few instances ("O. Lover," "The Forecast") where his homages to '70s AM radio sneak over into copies.

If crude tales of incest, child abuse, drug abuse and just about every other type of abuse are your thing, then... "Hannicap Circus" is for you.

A mixed bag of pure-pop lyricism and throwaway covers.

The songwriting grows less challenging as the album unfolds, often lacking the kind of vocal performances that provide real traction.

One can't help but think that by scaling back their ambitions, the Foos could have made one great album instead of two average ones.

Too much here sounds like Coldplay-by-numbers, and the lyrics lack the deeper meaning the album seems desperate to provide.

The album is, while not terrible, not very memorable, either.

Despite hitmaker Linda Perry co-writing half of the album's original tracks, something is missing.

An uneven and ultimately unsatisfying return.

Sadly, the album is reminiscent of everything he has already done.

Finds the duo, well, pushing too many of the same buttons.

At times compelling in its eccentricities, this record emphasizes experimentation rather than tunefulness.

The album is hampered by needless skits and, at times, too slick production.

The constant talk of expensive cars, gyrating women and endless parties quickly becomes redundant--and boring.

Here, there are moments when he entertains us and other times when he doesn't.

While collaborations with the likes of Viktor Duplaix ("Pull Up"), Rahzel ("Out of Breath") and British MC's Darrison ("Time") and Dynamite MC ("No More") provide interesting listens, nothing here is as revolutionary as such Roni Size classics as "New Forms" or Breakbeat Era's "Ultra Obscene."

The band tries to stretch but trips over its own convictions.

If parts of "Shock City" shudder under the weight of seeming too cool for school, much credit is due Beans for being one of the producer/MCs desperate to stretch out the rubbery boundaries of the genre.

Halfway between a fraternity kegger and a housewarming party.