Can get a bit monotonous and boring, but besides that a moody, grinding listen. [Mar 2006, p.123]

The rest of her songs on Anjulie are really hit and miss. Some are catchy enough to enjoy, others are boring enough to forget about.

Everywhere At Once, LB's Anti-debut, is also a practice in nostalgia--but it's decidedly more me-centric in execution. [Mar/Apr 2008, p.109]

It's a lot of wicked, loud noise, and if that's your thing, this is your record. [Jun 2004, p.84]

It's an album crying out for one ounce of originality. [Oct 2004, p.103]

Fans of Bubba's previous Southern-inspired offerings will delight in these extra helpings. [Mar 2006, p.122]

The problem is that all this pop-happy acoustic strumming lacks the awkward warble of Bright Eyes or the destructive heartbreak of Elliott Smith's music. [Mar 2007, p.101]

If you bought Daybreaker, stop! You're done. [Dec 2003, p.89]

If American Supreme showed up today as the product of youngsters, Suicide would be called electro-clash. [Dec 2002, p.92]

The few standout tracks are in the beginning, making the rest of the album sound like a monotonous waste of your time. [May 2007, p.94]

Just feels stiff and over-produced. [Aug 2003, p.88]

Polysics' contorted robotones are so hot they should spew from volcanoes. [Apr 2006, p.97]

This madcap comp is a blast. [May 2002, p.120]

His electro sound [cannot] stand out through the chaff of a million imitators over two decades. [Dec 2004, p.118]

It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.

It’s not just his vaguely interesting falsetto or all the emoting on his debut; it’s that all those emotions are under the guise of some real heaviosity but really aren’t saying shit.

The whole act is a gimmick, for sure, and one that wears itself thin awfully quick. [Nov 2004, p.98]

The end result just isn't up to the standards of which either of these musical titans are capable. [Mar 2006, p.119]

While meticulously arranged, Mind Elevation contains its share of anonymous, carbon-copy beats. [Sep 2002, p.104]

Each release generates one or two hits and is never regarded as a classic, but 4:21...The Day After may be an exception. [Sep 2006, p.137]

Levi seemed to have a great idea for Never Never Love, but didn't execute it as well as he possibly could have; so in practice, the record does not flow as well as he may have liked it to.

It might be difficult to differentiate after nine full-lengths, but Mixed Race may be the least engaging album we've heard from Tricky to date.

Notwithstanding a few guaranteed pop hits, the new album will probably leave most dance diehards cold... the album's dance cuts stick to the typical sampling-and-looping aesthetic that's been a bit tired for a while. [#79, p.123]

More style than substance. [#104, p.95]

It’s a welcome return to “vintage” Stills, after an attempt at stylistic departure (2006’s "With Feathers") was met with lukewarm critical reception.

Hammond, Jr. paints an awfully pretentious portrait of a dude caught playing with his best friend’s b-sides.

While Hello Everything is everything you'd expect a Squarepusher LP to be, therein lies the problem: It's exactly everything you'd expect a Squarepusher album to be. [Oct 2006, p.130]

The album certainly excells when the faux-accent is beaming British. When it isn't, the album can grow monotonous but overall, Brain Thrust Mastery keeps the trash smelling absolutley delightful.