One of Cornog's greatest strengths is what makes Rooms affecting. While his lyrics can be pretty straightforward, the songs are arranged for maximum effect. [Feb 2011, p.64]

Tin Can Trust stands as a solid piece of work from the band. [Summer 2010, p.88]

Across six songs of minimalist repetition, the day-to-day of this 42-year-old librarian becomes meditative rondeaus, epic folk incrementals that make eerie nourishment for the wee hours. [Nov 2009, p.101]

For some, Wolf's gloomy musing will come across as just plain depressing, but there's enough gallow humor and tumult to keep it noteworthy. [Fall 2009, p.68]

Musically there's little to get excited about, and little to draw complaint either.

What the band does best is still straight-ahead pop-rock. [#13, p.97]

It's relentlessly cloying pop music, and it would benefit immensely if the act would take a step outside their comfort zone into more nefarious territory. [Feb 2011, p.72]

It's better than your average album, but by the standard of Let's Go Eat the Factory, it leaves a bit to be desired.

The band, composed of members of Arcade Fire, The Luyas, Snailhouse, and The Sway Machine, is a good fit for fans of any of the aforementioned acts or anyone looking for some new instrumental music for homework or housework. [Spring 2009, p.70]

Think strummed guitars over whale songs and barely audible vocals for about 40 minutes. [#9]

It's brave pop omnivorism, with Daniel and friends grabbing whatever they need in the name of reinvention. [Winter 2010, p.66]

Aaron Dessner and Justin Vernon’s pet project has become the musical equivalent of Guess Who’s Coming to Dinner. And unfortunately, barring a few standouts, most of the guests add little spice to the proceedings, assuming they are even detectable at all.

The band seems to have stalled out on the sun drenched idealized California road of love. [#5, p.102]

There is a samey quality to his last several releases that Buckner seems incapable of shaking. [#15]

At 16 songs, it's not a perfect album, but when it fails (which is rare) it does so with forward momentum. [Fall 2008, p.79]

While there are definitely a handful of superb tracks you'll still be rocking two years from now; there are a bunch you won't. [Spring 2010, p.62]

Glass' distorted barks and coos are a highlight of their first two albums and live sets--but any political message the band intends in III is lost under layers of digital dirt.

The overdone synth pop and uninspiring songwriting becomes a bit tiring, so Lost Girls as a whole is a disappointment for a band with so much talent and past successes. [Sep-Nov 2019, p.82]

His tunes are sparse and heartfelt. [#13, p.99]

Unlikely to be turning on any new fans, this will no doubt please those who have followed King since her earliest appearance on Nas' Street's Disciple, yet there's really not enough here to grab onto to really move the soul and demand repeated listens.

Think the poppier side of The Velvet Underground with Television's Tom Verlaine on Vocals--but not quite as good as that would actually be. [Nov-Dec 2013, p.99]

Uninspired and monotonous. [#13, p.93]

The D.I.Y. heroes cleave their influences with the subtlety of butchers. [Holiday, 2009, p.80]

Hugely enjoyable. [May 2011, p.79]

In their effort to defy categorization by creating sonic pastiches from fragments of widely varying genres, along with their aversion to capitalization, they too often stray from creating compelling processed sound portraits such as “Dark blue” and instead end up with bristly and frazzled sketches, rendering the album as an auditory adventure will neither wow the listener nor will it disappoint.

Galaxie 500 greatly benefits from the studio effects and overdubs on their two official releases, but the spontaneity and off-the-cuff elements of the guitar tones and phrasings in the live setup are certainly enjoyable. [#12, p.94]

As an album, there's little holding Smart Flesh together. [Feb. 2011, p. 72]

Rather than being a well-planned effort, the record is perhaps a means of casual, off-the-cuff catharsis for the artist. [#8, p.116]