Debelle's sound loses a level of what made it so unique [in her debut] by moving from the jazzy, instrumental accompaniment to rapping over more digital beats. [Mar 2012, p.88]

These surreal, often diaristic tracks miserably ruminate on the end of Wolf's 11-year relationship with his wife, but are somewhat bolstered by his percussion-centric use of marimbas, vibes, and bells. [Winter 2010, p.72]

The duo's hook-laden, dangerously infectious, bottom-wiggling formula is still in place. [Oct 2011, p.112]

While this particular brand of retro-ish pop is pleasing in small quantities, over the course of a whole album, things start to sound familiar. [May 2011, p.88]

Elizabeth Ziman's voice compares well with the mainstream flavor of a Sara Bareilles, while her songs mine deeper states of self-examination. [Year End 2010, p.75]

A decision has been made that it is time to introduce new flavors into the Morrissey sound palette, with the well-established Boz Boorer-led guitar sound taking a step back in favor of a measure of electronic tampering, instrumental variety, and sonic effects. If change was needed, this wasn’t it. ... Morrissey’s vocals remain strong, those wrought girders that with age have reinforced what was once a floral and decorative voice standing firm. He continues to have a knack for finding an elegant vocal melody too.

While it feels like there is no hope for them ever coming out of the dark place they exist in to take part of the pleasures in the outiside world, in contrast, Chapman is having quite an enjoyable time here with the ret of us humans. [Fall 2009, p.59]

CYR is a record that so obviously chasing mainstream appeal yet sabotages itself by being too long a self-indulgence.

This isn't so much a bad record as a boring one. [Sep/Oct 2014, p.78]

At over 71 minutes, the album is overlong, but at least it is cohesive.

With each album, the band seems to grab for so much, reaching further and further into the musical abyss, and still and managinge to craft songs that boggle the mind and dazzle the ears. The only question is whether all this is just too academic. [#15]

The ephemeral instrumetal tracks are less bothersome this time out but don't keep the band's tenth effort from eventually toppling over. [Summer 2009, p.66]

The second disc, and the real treat here, is a barebones live recording of Zopoula playing in his backyard. [Spring 2009, p.77]

The songs are thoughtful without thinking too much of themselves. [Feb 2011, p.64]

Serviceable for the most part, Nightingale nevertheless sounds dated. [Oct. 2011, p. 113]

The melodies are still sweet and her voice us still shrewd, but Orangefarben gets in its own way too much to cut deeply. [Jun 2012, p.155]

The duo delves into vocal-driven minimalism far richer and darker than previously heard from Tosca. [Mar-Apr 2013, p.97]

Depending on your patience level, this fade-out of Small Black on Best Blues can either be engaging and hypnotic, or repetitive and forgettable.

Their latest is a decent entry into their quintessentially Canadian discography that casual listeners will tolerate and fans will like.

Flashes of brilliance remain, but consistency has not yet been achieved. [Summer 2009, p.68]

A thoroughly realized, if singularly fixated, release. [#10, p.107]

While endeavoring to find their own sound, Tapes 'N Tapes ultimately come off as somewhat generic. [Spring 2008, p.81]

Moffat's drawn from a more experimental palette, illustrated nicely on his fine outing with ad hoc backing band The Best-Ofs. [Spring 2009, p.72]

Much of Differences gets wearying after the thirtieth minute of Tim Kasher's unhinged howling. [#10, p.106]

Ultimately, it's unfair and even glib to say this album doesn't hold water because it has no "Home" or "40 Day Dream," but all the same, one laments the loss of the magical, poppy Midas touch Edward Sharpe & The Magnetic Zeros once wielded with such ease.

Way too easygoing and disappointingly light on rockers. [Oct/Nov 2012, p.128]

The Mix-Up may not be the cure for 2004's disappointing "To the 5 Boroughs," but it grooves nicely in the meantime. [Summer 2007, p.79]

A fairly specific album--great when you are similarly sullen, but somewhat tiresome when you aren't. [#8, p.112]