Its successes just about match its failures. [#70, p.100]

The finest moments here are all Feist-like. [#70, p.102]

Rouen is all long jams and breezy acoustics, the telltale signs of a band that feels it's time to sober up. [#70, p.110]

When this band surprises... it provides moments indie rock could use more of. [#70, p.102]

Consider this follow-up one step back. [#69, p.98]

An ambitious album... but it's undercut by Fink's inconsistent readings. [#69, p.96]

Nearly buries itself in interesting ideas that are ultimately unrewarding. [#69, p.98]

Songs that actually shoot for happy tend to slide into saccharine. [#69, p.96]

The hooks fail to sink in, and Kinski is occasionally too clever for its own good. [#68, p.100]

Too much of A River, though, doesn't give you enough music to love it. [#68, p.110]

A quartet of droney sameness [in the second half] essentially grinds Moonlight's funkiest ingredients into a sluggish, repetitive pulp. [#68, p.111]

By its very generic nature, Seadrum/House Of Sun sounds more like background music than anything the Boredoms have ever recorded. [#68, p.87]

Taken in one sitting, Our Thickness is just wearying. [#68, p.110]

There's never a sense that the singer convinces himself he's got anything beyond the rote punk/blues motions to draw from. [#67, p.112]

It's an overstuffed, uneven album, one that's not disappointing as much as it is disorienting. [#67, p.111]

Evokes an industrial Enya soundtrack that would play on Frodo's laptop. [#67, p.112]

As it's continued to grow, Ida has begun to sound almost ordinary. [#67, p.98]

"The Lost You" is a breathless, if unfortunate, peak. What follows are four miserable, mostly tuneless dirges that bring a slow death to [the] album. [#67, p.97]

Once a means to subvert pop/rock formula, the band's abruptly shifting dynamics have themselves become formulaic. [#67, p.97]

Pretty and pleasant without ever being especially compelling. [#67, p.100]

All Rise flitters about like an overly melodramatic actor: it might be pretty, but it offers little more than monotony. [#67, p.97]

Where the smart rap of Antipop Consortium came off as quick and cutting, Maverick just seems remote. [#66, p.86]

Gradually succumbs to torpor, with track after track given over to midtempos and pretty-yet-languid riffing. [#64, p.104]

It seems so mild. [#64, p.98]

An occasionally rewarding but often confusing listen. [#64, p.108]

The melancholia lacks distinguishing marks. [#64, p.80]

The occaisonally infectious hooks keep the shtick from falling into one-dimensional parody. [#64, p.104]

A better-than-average Sonic Youth album. [#64, p.106]