Problems is an altogether solid enough and enjoyable listen, it merely fails to push beyond being an impression of the band's former glories.

You can't accuse Young of not wearing all the appropriate badges, flags, and emblems, but the message has become more than a little threadbare over the years. Fortunately, Crazy Horse sounds as reliable as it always has even if no new ideas are borne out.

For an artist whose past two albums were as impeccably curated as they were produced, the non-cohesiveness of Miss Anthropocene is bit of a disappointment, in spite of the record’s highlights.

Teenage Fanclub sounds positively content, and even tranquil. It's not the worst fate for a group of rock lifers, but it doesn't make for the most compelling listening.

There are likeable moments. ... But even for the most effective songs, the impact is largely due to familiarity. [Apr - Jul 2023, p.82]

Mercer always has been and always will be an acquired taste. If you're already on team Mercer, Fuck death should only reinforce your commitment. Oct 2011, p.96]

Though occasionally the layering becomes cluttered and the tracks spin out a little, there are enough euphoric come downs to keep it from becoming grating.

La Grande's subtle sonic shifts augur even more exciting directions to come. [#39, p.68]

The songwriting quality here isn't far removed from the rarified echelon he aspires to, which suggests he may discover his own singular voice soon. [Spring 2010, p.71]

The listless downbeat trend of recent solo efforts unfortunately continues. [Fall 2008, p.88]

One gets the vaguest sense that Shook is meant to inspire hope in the face of despair. Unfortunately, that hope is intangible for the majority of the album’s runtime.

Strict Joy ultimately feels like a great breakup album without the aftermath of an actual breakup. [Fall 2009, p.60]

he overall result is in line with Studio's work or that of some of their Swedish contemporaries. [Feb 2011, p.69]

Wild Beasts have an art rock sensibility for sure, but these songs read like deranged fairy tales of clamoring male maturity. [Fall 2008, p.85]

The songs are undeniably likeable, their likability almost formulaic, yet still surprisingly retaining a fresh-faced charm.

Interpreter extraordinaire Cassandra Wilson embraces a cool dozen standards, although, unfortunately, the overall taste is not quite as cool. [Summer 2008]

Paradise sounds contemporary in the worst way, instantly dated and likely soon forgotten by any new audience the band might find.

There Is No Love in Fluorescent Light is an album on rails, sticking solidly to the tracks with never a thought of deviation. It's also a route we've travelled many times by now. Yes, it looks familiar, but it'll still get you there in the end.

Frontwoman Dee Dee's vocals are largely an impressionistic wash, just anther instrument buried in the mix, yet her delivery is impeccable. [Winter 2010, p,62]

The yawn-inducing LP starts innocently enough with the charming synthpop number, "Thieves in The Night." [Winter 2010, p.68]

Josh Ritter returns with a sloppier, less streamlined record. [Summer 2007, p.91]

Stagnant Pools make a drone-y noise out of only guitars and drums. [Aug/Sep 2012, p.122]

The album standout, however, is Cash's wonderful version of Hank Cochran's "She's Got You." [Fall 2009, p.75]

Despite its problems, Gloss Drop is a mild accomplishment.

Few of the tracks hav[e] enough energy or personality to break out of the enveloping lull created by perfectly crafted arrangements and manicured vocals. [#12, p.93]

You want it to be better, to infuse some of the precision and fire of those [proto-industrial 80's] predecessors - but it lags. [Mar 2012, p.87]

Showcasing what feels like every instrument immediately available to Pratt, including his breathy and sincere vocals, the album manages to avoid collapsing under its own weight. Instead, the myriad lines of music coalesce into cogent, nay satisfying, songs.

You've got the soundtrack to a fun night out...but little more. [Jun 2012, p.147]