[Frontman Jesse] Elliott seems more preoccupied with packing prosaic lyrics with regional references than encouraging the participatory response these large-band arrangements often beg for. [#88, p.60]

Joker unwittingly set the bar high for his debut full-length. Unsurprisingly, it falls short. [#82, 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]

If you're not already a fan, this won't convert you. But if its obtuse kraut-rockabilly's your particular addiction, this will be pure manna, pilgrim-uh. [No. 116, p.57]

The rest of Pleiades isn't so memorable [as "further"], but it's never less than pleasant and frequently pleasurable. [#82, p.53]

It's hard to imagine reaching for No Pier Pressure when you could choose from all those great(and even not-so-great) Beach Boys albums from 40 or 50 years ago. [No. 119, p.60]

Overall, this still feels very much on the level Placebo was at with 1999 single "Every You Every Me," minus more artfully constructed, impressive instrumental compositions and lyricism. [No. 102, p.59]

The album's back half tones it down a bit, though the overarching tropical themes get a bit extreme. [No. 122, p.55]

Unlike a deadmau5 or Skrillex, Van Dyk can only do his one style, and by the time the album is two-thirds over, you're already ready for him to mix out. [#86, p.59]

The songs on Sucker aren't the greatest tunes Brock has ever committed to tape... [#51, p.103]

None of the tracks approaches the frenetic monstrosity of the Public Enemy song they're named after. But "Strength In Numbers" and "Who Owns Who" are some of the most ripping music anyone involved had made in years, and they're not all repeating themselves. [No. 146, p.59]

He mostly sounds like a fish out of water. [No. 95, p.57]

It's an LP full of computerized, Auto-Tuned dance-pop anthems, perfect to drive the kids at junior prom into a frenzy. [No.90 p.59]

As meticulously milquetoast as the entirety of this is, there are deadly sharp adult contemporary hooks on "Over & Over" and "The Pin," though the pervasive electronic beats, the obnoxious layer of acoustic strumming and raise-your-beer-and-hum choruses are symbols of a band lock-stepping in with whatever goes over best with casual listeners. [No. 132, p.55]

The odd, sublime nod to the blues is a pleasant shock in what registers as a 45-track hour-long lark--the latest in a long, winding series of digressions from the auteur's core competency. [No. 93, p.55]

A record that plays like just the sort of effort we've come to expect from the Dandy Warhols: an uninspired, over-referential half-nod to the group's heroes. [No.87, p.54]

Opening slog, "Heaven Is A Gated Community" plods hopelessly beneath its titular destination, setting the pace for a record-long limp. [No. 93, p.57]