Crush Songs trades intensity for wistful longing. [No. 113, p.51]

If there is no respite from volume, there are variations in pacing. [No. 117, p.59]

The album fares best when Evelyn lets his sampler do the talking. [#56, p.101]

It sounds like a fun, energetic performance but it downplays his sophisticated charms. [#91, p.56]

[Dave Davies is] mostly restrained here, content to strum as he and Russ sing together. [No. 142, p.54]

Like a tightrope walker toeing a slack line, the Helio Sequence enters and exits this fifth full-length at its highest points... In between, Negotiations breaks down. [No.91, p.55]

The imitations/references spill out... But Spills Out is considerably less interesting and more cerebral, when Pterodactyl sounds like other bands.[#82, p.59]

The album also contains enough experimentation and cleverness to stand on its own in !!!'s decidedly confusing and overpopulated sub-genre. [No. 143, p.53]

Space-rock created in an energy vacuum. [#47, p.104]

Where the smart rap of Antipop Consortium came off as quick and cutting, Maverick just seems remote. [#66, p.86]

Gimmie Trouble: cyber funk or cyborg punk? [#70, p.86]

Cydonia is a welcome return to the sensual, dubby, progressive trance that marked its best early work... [#50, p.102]

These are not tunes created with an eye on the top of the charts, but it only takes about four bars to realize that they should be up there. [No.86, p.56]

The pottery kiln warmth of the rhythm section lays a solid foundation for Lobsinger's sensual voice. [No. 128, p.59]

It gets waylaid by a few meandering ballads and overly repetitive choruses, but Hynde's still one of rock'n'roll's great singers. [No. 110, p.57]

They too often edge into Meat Loaf/Jim Steinman territory, where every detail becomes a cause for operatic exaggeration and any clunky line or cliche sounds ridiculous. [No. 93, p.56]

Aside from the awkwardly grungy 'The Score,' these are good songs well-played, with Walla handling everything except for drums.

The whole of Dr. Dee is bucolic yet slightly nervy with Albarn's chatty croon acting as yet another gentle breeze wafting through the Arcadian affair. It's not the Damon-pop solo you hoped for. [No.88 p.52]

Their best work. [#54, p.107]

Halfway applies Cook's fading trademark of playful repetition to similarly crackly sampling and comes up almost wholly unlikable. [#48, p.89]

Mediocrity this aggressive should cancel itself out at some point. [No. 101, p.53]

No No No plays less like a travelogue than simply what it is: a really good--if brief--Beirut album. [No. 124, p.52]

Here, on one compact disc, is what's wrong with the music industry. [#54, p.110]

As his politics become more complex, his writing has grown subtler, the melodies more sophisticated and the lyrics more richly detailed. [#53, p.72]

With a few exceptions, the rest of Goodbye remains little more than background music destined for life in service to candle boutiques and Saturn commercials. [Summer 2007, p.106]

At it's best, Barragan sounds like typically inventive musicians sleepily phoning it in. [No. 113, p.54]

As ever, SSLYBY thrives most on its unyielding pleasantness. [No. 102, p.60]

When Slo Light want to pound pulses, it does so expertly. [No.106, p.53]