The album's tracks combine heavy electro with underlying roots of hip-hop and vocals similar to that of The Faint to create a solid offering from start to finish.

Though this may be considered a good album due to its proper rock anthems and memorable melodies, the style goes awry one too many times for the disc to be considered novel. [Holiday 2008, p.92]

After the jarring synthetic combo of “Rope Burn” and “Eggs At Night,” Hubba Bubba hits its stride with tracks like “Sic Bay Surprise” and “Photograph,” which contain flashes of Dwyer’s high-pitched breathy signature vocals and a few bars of guitar shredding in between the machine blips.

If you're a grown-up who harbors a playful streak of rebellion, here's your new soundtrack.

The Head and the Heart deliver plenty of both [Americana and chamber pop] when it comes to sing-along meditations and winding Appalachian roads.

The record contains many great spontaneous details and nearly as many backing vocal tricks as an Eminem disc. For these among other reasons, even when Way To Normal is annoying, Folds sounds very ispired. [Fall 2008, p.92]

This is an album hard to grasp at first, let alone on second or third listens.

Other than a few missteps, Sidewalks displays a calmer, more self-assured band that seems to have graduated from a one-note "new-wave White Stripes" shtick.

The album as a whole is neither as crazy nor as clownish as fans would hope.

Sadly, nearly half the songs on the album are bland, boring, and, quite unabashedly, one-dimensional.

[Van Dyke] Parks' masterful touch transforms the Thrills from barroom favorites to starry-eyed chancers with a shot at the big time. [#12, p.105]

Auf der Maur builds a strong rhythmic foundation on this record and then proceeds to layer the white powder on top to hook the kids. [#11, p.94]

It's disjointed, but somehow held together by Wolf's honestly and sometimes-brilliant turns of phrases.

It's an album the way a band would do it, meticulously mixed together by two of Germany's best electronic producers. A little bit tanz, a little bit rock and roll.

[It] transcends sonic genres with a mature exploration of a global village too distracted to notice it's shorting itself.

Has a slick slutty electroclash vibe. [#9, p.102]

An effort to be commended, but you don't have to care about global economics to enjoy the booty-shaking beats.

There are sometimes a little too many knowing winks in all the escalator chords and wordless chants, but you can't help but wink back. [Fall 2008, p.98]

On Sing, through chipper dulcimers, ukuleles and tons of brass, the outfit makes maelodies that, though still weary, are joyfully yet vaguely reminiscent of Pet Sounds-era Brian Wilson. [Fall 2009, p.92]

Like scarfing down a meal at Sizzler: your stomach is stuffed, but, in the end, your taste buds are left itching for more flavor. [#11, p.95]

For now, via tracks like 'High Noon' and 'Mother Nature,' they continue to ride high in the saddle on much the same sine waves they engineered in the previous millennium. [Summer 2008, p.100]

There is ... a marked orchestral fluidity throughout, which lends itself to the experimental instrumental passages that permeate the record.

Bizarre and punkish and freakish and good. [#5, p.91]

While the piano/acoustic guitar/percussion combo often associated with female songwriters is prevalent, the tracks manage to establish their own identities and not run together. Yet it's ultimately difficult to shake the feeling that you've heard this all before.

Stunningly bright, impeccably trim and dance-y, the level of song craftsmanship here has garnered Beach Boys comparisons, but Ace of Base might be a more accurate touchstone, with a bit of Christopher Owens' (Girls) deep, bummed-out vocal blur as well.

Someday World sounds quite like Happy Mondays at times, and rather like King Crimson at others.

Though Maps is ona simple level known for James Chapman's spacey and cinematic sound, the new direction--or variety of directions--are all equally as wonderful, even if they are unrelated. [Fall 2009, p.106]

From the album's opening electro-tribal groove to Tunger Hnifer's distorted bass and scratching vocals, the instrumentation throughout Who Killed Sgt. Pepeer? is both massive and of the varied type. [Winter 2010, p.98]