Unoriginality issues aside, this zealous band knows how to have fun.

Their overly straightforward rock tends to be a little more Jefferson Starship than Airplane. [Mar-Apr 2013, p.103]

Cuts like "Must Be Leaving" and the purring "Wanna Know" are symptomatic of an earnest record that means and says absolutely nothing.

You have to take the good with the bad. It's probably the case that the good is better than you remember it and the bad is worse.

Tape Club has some strong moments, but they're too often reminders of a band that seems to have lost its magic somewhere along the way.

Good times are to be had, but don't go looking for anything deep. [Summer 2007, p.90]

PHB are equally comfortable with light rocking as they are heavy popping. [#39, p.75]

It feels more like a mix of diverse songs than a cohesive album, but there's enough here to keep fans of different genres happy.

Purporting to be brash and exciting, DIOFYY? offer up an album of decidedly non-offensive electro-pop. [Spring 2008, p.88]

This is a rootsy album of pedal steel guitars, orchestral flourishes, and rather sweet songs of a happy life. When an artist has given us soundtracks to our youth and failings, we afford them an enormous amount of goodwill and do not begrudge their good fortune. Natural Rebel is not without it's shine.

Zeitgeist fails to capture not just the spirit of the cultural times, but of the true Smashing Pumpkins. [Summer 2007, p.84]

While Taylor's voice is more adventurous than ever, it seems that the music hasn't quite caught up.

Anywhere I Lay My Head is neither laughable nor unlistenable, but what's the most disappointing about it is that producer David Sitek of Tv on the Radio is its most prominent contributor, not Johansson. [Spring 2008, p.77]

They have overshot the mark, however, as the overshadowing of the product by the ambition clearly indicates. [May 20111, p.84]

Dust off your dancing shoes. [Spring 2009, p.79]

For all the drama, this is auto-pilot-rock. [Jun 2012, p.161]

Giving themselves no limit on the length of their compositions, in some cases it feels as if the music is as long as the film it is scoring.

Has the unmistakable sound of a sophomore slump. [#10, p.107]

The sum total is a modest success punctured by stumbles, reinflated by longer strides. The foundations have been reinforced, variation is creeping in, and all is well.

The reverberating sitars that kick off K 2.0 signal that it's business as usual chez Kula Shaker.

Revamp is a mixed bag. Several of the artists here take chances with the tunes, and at times are wildly successful. ... When things are bad, however, they are bad.

To Lose My Life is satisfying and consisitent throughout, even if White Lies treads daringly close to one-trick-pony territory. [Spring 2009, p.75]

It's a fantastic soundtrack for a slow-moving morning after a long night of misbehaving.

Surely, it's not hard to appreciate the intelligent yet visceral guitar work and the unshakable groove... The problem is that it's nearly forgotten once the music ends. [#8, p.116]

Helium sounds like the morning after, fighting off an omnipresent haze as the day slowly forms.

Tom Holkenborg returns with a dance album that's likely to appeal to the 13-year-old videogamer. [Spring 2008, p.88]

Sure, there is nothing new in these tracks, but it is surprising how well the songs stand up after so many years.

A major disappointment. [Summer 2009, p.64]