It's more a big tent revival for existentialists than anything else. [Dec 2014, p.66]

It just doesn't have the same personality that American Wrestlers' self-titled debut captured so well.

How Do You Do actually has a bit more reach than just that classic period, but Hawthorne's strengths shine brightest when he channels the 40-year-old vinyl. [Oct 2011, p.99]

It may not be as vital as the similarly-schizoid post-rehab records, but it's nice to know Earle can turn on that sort of talent at will. [Mar-Apr 2013, p.106]

While some of these experiments don't work--the riotous "Babushka-Yai Ya" is messy and, ultimately, skippable and "Euphoria" lacks any exultation--others cast Regan in a new light.

While the group doesn't excel at everything they set their hand to, there's certainly more to recommend here than to warn against. [#13, p.97]

Ultimately the effort is mighty, and Little Dragon is still clearly at the top of the electro R&B pile. But Ritual Union is a mixed bag, its feet uncomfortably divided between the dance floor and the couch.

His more expansive numbers could benefit from even further collaboration. [#10, p.116]

Though beautiful throughout, it never quite delivers a punch to the gut before it quietly goes down. [Mar-Apr 2013, p.101]

As part filler, part last-band-standing victory lap. Under Great White Northern Lights is a worthwhile addition to The Stripes' discography. [Spring 2010, p.71]

Overall, Two Sunsets' twee pop aesthetics lattice into a misty, pastoral inertness.

The album is plagued by overcooked production, and these are the type of songs--confessional, despairing--that are best served rare. [#5, p.114]

The LP feels more casual than previous ones, but that's by no means a negative. [Aug-Sep 2015, p.79]

I Don't Run isn't a bad record, or a regression, nor is it the continued ascent the band had hinted at. Instead, it's a meandering detour through chill, lo-fi, and sometimes flat songs.

While both tracks suffer from their length, there is still an underlying hint of Shepherd's innovative mastery. It's the failure of this to come to the fore that means the Kuiper EP is not the best demonstration of what it's creator is capable of.

The Jealous Machines, in contrast [to Born on a Gangster Star], strikes less of a balance. It's wordier, with no strictly instrumental tracks, and its conceptual bent is more instrumental to the essence of the LP.

The album is a bit of a mixed batch. [Mar-Apr 2013, p.99]

The Terror is a record that feels high on concept, but short on songs. [Mar-Apr 2013, p.92]

Their flow and their confidence argue against them being just a novelty act. [#5, p.114]

As the album progresses, the heavy psych rock quotient is upped and the flute becomes a non factor, making way for an impressive and explosive debut. [Fall 2010, p.65]

Stars Are the Light is a decent album that shows Moon Duo know how to put a new spin on an old formula. And while it may not make a big splash, the ripple effects can be pleasing.

Baldi has clearly carved out his own corner of plainspoken wisdom; on Final Summer, unfortunately, the songs don’t quite do his insights justice.

While intended as a love letter to their longtime fans, this 23rd LP from the Japanese rockers feels more like an optimal entry point for newcomers.

The wide-eyed soundtrack to an afternoon-stoner daydream. [#8, p.106]

It does not provide an accessible point of entry for the uninitiated. Like the majority of such collections, it will appeal to existing admirers of the artists work. [Winter 2009, p.80]

Much of the material is unmemorable, making this feel longer than the album's 46-minute running time.

While still incredibly beautiful, the addition of a choir in the first half has neutered much of the duo's original appeal. [Summer 2010, p.81]

It's not an oeuvre that appeals too many people, but Live At The South Bank will be rewarding if you favor plenty of experimentation in your music. [#39, p.74]