Listening to Coyne retreat behind the faux-Power Rangers horror-movie shtick he's created here is puzzling and ultimately disappointing. [#55, p.73]

Detrola, while still unpredictable, manages a certain unity. [#71, p.99]

It's an established formula: Regression to the mean is inevitable. That said, there are plenty of familiar pleasures for those who investigate. [No. 131, p.56]

Their new album A Thousand Thoughts, featuring mostly unreleased tracks of music from 14 countries, does suggest that in this expanded universe Kronos have come to resemble sentimental tourists rather then intrepid explorers. [May 2014, p.65]

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

Gangster Star features a much stronger single (the idyllic "Shine A Light"), while Jealous Machines waders a bit further into the narrative forest. [No. 144, p.59]

Pop uses the strengths and weaknesses of his many guests to differing--and sometimes distracting--effect. [#61, p.88]

While it is technically flawless and masterfully executed, it makes for awkward listening. [#74, p.102]

The misfires pale in comparison to the stomp and swagger of the record's best songs. [#58, p.91]

Lyrics ... come off as exceedingly everyday - as well as vital.

The effect is rather like Post-Super ae Boredoms, which is a great sound to achieve, but they only nail it sporadically. [No. 106, p.55]

Among the filler that drags down the LP's second half, fulfills contractual obligations and pushes the Gwar story forward. [No. 149, p.57]

The album kicks off with an accomplished, but by-the-numbers nod to T. Rex/'70s glam, then proceeds to genre-jump through the filter of neo-alt-country/Americana in a well-done, but regrettably innocuous fashion. [No. 128, p.53]

Ultimately, neither the album's ample, artful ambience nor its pasted-on continuous sequencing can help it transcend the ho-hum resignation of its title. [No. 149, p.59]

Dracula gurgles with slower, more experimental moments at times, but the brief drags are balanced out by funky hip-swingers and modern nuggets. [#82, p.59]

Gab's good-natured hustle is commendable. [#85, p.55]

Its performances over the past year have generated much anticipation for DIIV's debut full-length, but Oshin doesn't connect the same way. [No.89, p.53]

Their grandiose mini-operas and stadium-size choruses can thrill. But to hear the relentless string of outsized anthems in a row is exhausting. [No. 105, p.55]

The album's got its share of earnest torchers, but the upbeat "Salt Of The Earth" is the standout--spooky, yearning, bluesy, almost trip-hoppy and a little bit weird. [No. 106, p.54]

Music, while a pleasant listen, is nowhere near the heartfelt art Eitzel normally blesses us with. [#54, p.86]

Much of the material is mid-tempo and occasionally bland, but in its best moments... Kill Them With Kindness soars. [#60, p.105]

After a few tracks, you may find yourself seeking relief with your favorite method of self-obliteration. [No. 105, p.56]

[It sounds] little more than controlled and reserved stabs at Lower East Side new/no-wave of early talking Heads, Social Climbers and Blondie driven by some uppity Britpop rhythms. [#86, p.54]

The results are gorgeous, but frustratingly circumspect: twitchy, mournful, would-be futuristic dark pop that's almost comforting in its claustrophobia. [No.99, p.55]

The mixed results are troubling. [#55, p.86]

Friends lose themselves when they try too hard to sound like the Ting Tings, Cults or the Yeah Yeah Yeahs, which they do too often here. [No.89 p.54]

Lightning Bolt is only more competent than Foo Fighters, Vedder and Co.'s rival for the planet's straightest rock band. [No. 105, p.57]

The Private World Of Paradise does have a somewhat rustic, indie-rock feel, though augmented with a greater wealth of instrumentation. [No. 107, p.61]