Their songs do run deeper than they seem, but you have to listen closely and push through fluff. It was cute the first time, but now it's just awkward. [Winter 2009, p.97]

The songs on Ten actually sound shockingly more insufferable this far out of their original grunge context. [Winter 2009, p.97]

Listening to this record, made me feel like the Andy Rooney of dance/electronic music. [Winter 2009, p.92]

Cyclone might lack the raw beauty of her last project, but Case's emotional honesty is surely a sign that more meaningful transformations are in store. [Winter 2009, p.92]

The sense of movement is missing here, that raw immediacy that powered "Full Collapse's" better tracks; the howls and breakdowns feel almost like quota-meters. Still, though, there are enough feedback squalls and keyboard squelches in Dave Friedmann's production to suggest Thursday have yet to run their course. [Winter 2009, p.100]

This debut could've, should've and would've been more appropriate as a moody summer release for trips with the car windows down, but instead we're forced to keep 'em up as winter nags at our sleeves. [Holiday 2008, p.100]

The 29-member jonkoping, Sweden, collective opts for a darker and altogether less interesting vernacular. [Fall 2008, p.92]

Overall, Forfeit/Fortune feels too much like a collection of songs that were thrown together without thought or directoion. [Fall 2008, p.99]

The two marry sounds of melodrama and sheer polyphonic weirdness for a result gone (sometimes) wonderfully awry. [Fall 2008, p.98]

Somewhere in the English to Japanese to...uh, English translation, the wonderful quirkiness inherent in their delivery and meaningless lyrics was misplaced. [Fall 2008, p.105]

Vandervelde masterfully dresses singer-songwriter tunes that could exist just on acoustic guitar in beautiful studio psychedelics, but too often he lets his brillant sound palette subsitute for structural creativity. [Summer 2008, p.98]

Weller unveils an indulgent 21-track, hit-or-miss collection that has a scope, ambition and jazzy undercurrent which suggests Pete Townshend slumming in Vegas. [Summer 2008, p.98]

It may sometimes sparkle, but it never shines. [Spring 2008, p.102]

While the record does nothing to offend listeners, it's excessively broad and does little to dramatically impress. [Winter 2008, p.94]

The Sword akes the safe, oddly paradoxical decision to stay off the cutting edge. [Winter 2008, p.97]

The result is not so much a breakthrough in ease of listening, but more a feeling that one of the greats is getting back in the ring to fight after tying one of his own arms behind his back. [Winter 2008, p.99]

Singer Aaron Beherns is gifted with the evocative falsetto wail of Freddie Mercury, but wastes it unnecessarily here with hurried urgency, producing words as quick as he can instead of savoring each and every note. [Winter 2008, p.92]

While there's magic in Darnielle's always-blissful eye for detail--takes the kaleidoscopic, blood-red sun on 'San Bernadino'--far too often the album works up a head of steam only to wander into unflattering territory. [Winter 2008, p.95]

It's shame, however, that the goofy aspects of the album distract from its sonic frame, as Wiliams is not only a talented producer but also has a keen ability to weave masterful pop instrumentation. [Winter 2007, p.94]

In Our Nature is a compelling but not fascinating portrait of an artist at ease in his element.

The overall atmosphere is grey, too blah and insular to be colorful.

Zeitgeist is mostly a grinding, straightforward affair that demonstrates none of the innovation and vision of the band’s previous efforts.

The lyrical chops are intact but the production is far too dated.

What was once enjoyable as a one-off now seems forced. [#25, p.89]

The traditional folk-rock methods begin to falter as the album wears on, leaving Mason's stirring tales of troubles and joys feeling rather one-dimensional. [#24, p.98]

The greatest 1996 era melodic rock since... 1996. [#22, p.98]

A touchy-feely orgy better left spooning in its afterglow 10 years previous when the feeling was still fresh. [#21, p.96]

We've heard this swaggering, fumbling funk before from Kool Keith's gazillion other alter-egos. [#21, p.98]