Most of the songs here work in pairs, or groups of three, as if Elfman couldn’t decide where to finish an idea and instead offers a few variations on a theme, diluting the punch of each individual track. ... The best tracks here are the ones where Elfman acknowledges his own limits and fears, without hedging or flippancy. [Jul 2021, p.59]

Because of the time lapses involved in recording the material, the album sounds uneven and sometimes stale, sadly lacking the Misfits punk rock kick that he managed to reboot into early Danzig offerings with producer Rick Rubin. Of note, however, is the closing “Pull The Sun”, a majestic hovering ballad where Danzig drops the Jimbo stance to elevate his group and his more subdued vocal to a higher rock pinnacle. [Jul 2017, p.60]

Tricky's problem is that the future has caught up with him. [#233, p.71]

For the majority of the tracks featured here, Hawkwind and Batt have jumped the shark with enough velocity to achieve geostationary orbit. [Sep 2018, p.59]

Still sounds like the work of someone desperate to gain the approval of the Drag City clique. [#215, p.69]

Best not to think too deeply about it. [Sep 2022, p.57]

A Better Tomorrow feels trapped by history, an impotent reflection versus a proposed resurrection. [Jan 2015, p.65]

Hayward sounds bored, Coxon throws out Clapton-ish licks, and Taylor's milk-and-water vocals make him sound like the younger brother of The Beautiful South's Paul Heaton. Only Thomas seems willing to inject any imagination into the songs. [Apr 2011, p.52]

Rick Ross is pretty much incapable of going more than 30 seconds with out using the word boss--too bad, because Justice League turn out three monsterous cruisetime tracks toward the end. [June 2008, p.63]

It lacks something crucial at its centre: definition, precisely. [#221, p.66]

[Forster] leans perilously close to airbrushed AOR when left too much to his own devices, but mostly the intoxicating richness and unashamed opulence of their epic space rock wins through. [#247, p.70]

Sadly it feels like the gestation period has robbed Joker's music of some of its immediacy. [Nov 2011, p.72]

Hovering somewhere between offbeat anti-folk and laptop noise terrorism, Kptmichigan falls short of achieving a genuine hybrid but trails some interesting sonic debris in the process. [#249, p.64]

Much of the album's faults are down to Smith. Rather than steering the collective ship, his voice, slurred to the point of incomprehensibility, barely connects with the others. [Dec 2014, p.48]

This trio are rarely an ecstatic proposition, preferring the slow burn to the white flame, but in truth there's little heat here at all. [Aug 2015, p.54]

He telegraphs all too simplistic rhymes schemes and rarely offers subject matter beyond deeply cliched braggadocio. He's rapping like he doesn't want to be there. [Oct 2010, p.67]

It's a shame that such moments [lyrics that objectify and highlight abuse toward women] can so completely mar an album, as Banner is on sparklingly articulate lyrical form elsewhere. [Sep 2008, p.66]

Keith's industry gripes are implicit from his two decade career as the Absurd Outside Rapper--so it's a shame he feels the need to come so blunt. [Dec 2008, p.74]

It pains me to think they’d record something so vacant and unneeded. Maybe 30 years ago this would have been a different album. But here and now, Two To One is a case of too little, too late. [Jan 21, p.82]

There is a resounding thinness to Purple Naked Ladies and its finest moments sound like a collection of scratch tracks from a lost Erykah Badu/Neptunes session circa 1998. [Mar 2012, p.54]

A sense of cluelessness pervades these songs, as though constructed without considering why or for whom they were intended. [Jun 2014, p.51]

Prophets Of Rage can’t help sounding a little male-menopausal even if lyrically the targets remain crucial and the trajectory remains ferocious thanks to the sheer undimmed timbre of Chuck’s meshrattling voice. [Sep 2017, p.55]

He’s hung up on Jesus rather than pneumatic women. It’s hard to tell if that’s an improvement, but it doesn’t seem like a regression either. ... An album with zero fat, dense in at least three senses, two of them positive. [Dec 2019, p.60]

Phase One impresses more on first listen [than Phase Two].... But it wears thin quickly. [Feb 2016, p.54]

There is no shortage of bad ideas on the second installment.... But this ugliness is anchored by a series of largely curatorial successes. [May 2013, p.68]