As a group, they're missing the sheer fuck-it-all unpredictability of the original band.... For the first half of Golden Lies, everything clicks with long-remembered power; but after half an hour, Curt and Co. start groping for new ideas and wind up repeating themselves, falling into formula instead of rewriting it. [#47, p.106]

The most psychedelic moments on the album come during the long instrumental fades on tunes like "Silence Can Say So Much," "Cast The First Stone" and "Love Is Like A Spinning Wheel," but the middy instrumentals mix often mashes the sounds together into an indistinguishable pulsation of spacey sci-fi noise. [No. 137, p.55]

Loads of echo and reverb rescue the album from this potentially fatal flaw, but overall, You & Me is a mixed bag.

Turn Blue is a soft pack of post-coital smokes, and Marlboro Lights 100's at that. [No. 110, p.51]

On first listen, For The Season is pleasantly trippy. Listen closely, however, and it seems rather patchy. [#70, p.100]

At its best, Bewilderbeast promises pastoral beauty.... At its worst, the album's faux-jazz workouts, painful disco homage, sappy ballads and pointless instrumentals stretch a decent EP into a bloated, hour-plus opus. [#47, p.84]

It helps that the androgynous vocals carry a hook here and there.... Otherwise, it's hard to pull any other redeeming qualities out of Galore. [No. 106, p.59]

A half-hearted attempt to outshine 2001's A Better Version Of Me, but lacks all the "Spit And Fire" that made that album so human. [#58, p.105]

Fantasy would be far more appetizing as a photo-negative of itself, with a dearth of feedback and studio obfuscation and Ambrogio's poetry as front-and-center spoken word. [No. 105, p.57]

His [James Alex's] lyrics aren't particularly strong. [No. 126, p.53]

Flesh is musical, but also minimal, a soothing pink noise that won't put you to sleep or interfere with your daydreams. [No. 116, p.59]

Jamaica Plain feels fittingly tentative and exploratory. [No. 105, p.58]

Try to listen to a whole [Azure Ray] album and time stands still, not out of boredom, just deja vu. [No.91, p.52]

Algiers appears designed not to define, defy, offend and - most heinously- explore. [No.91, p.53]

Over a full-length album, he's as annoying as ever. [No. 96, p.61]

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

From a fan's point of view, this [playing the same songs for years] rarely works. And it rarely works here. [No.99, p.55]

For the most part, we're just not feeling Everything. [#82, p. 60]

Love This Giant fitfully achieves its aim of unlikely, unearthly pop. [No.91 p.56]

He [Emil Svanangen] has a high, expressive tenor that often slips into a keening falsetto that fights to be heard over the sound of the dark, frequently overwhelming synthesizer symphonies that fill the background. [No. 147, p.55]

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]

The lack of focus and discernible melodies keeps CANT from being anything more than an interesting diversion. [#81, p. 53]

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]

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

Orbserver is the latest chapter in that legend's [Lee Perry's] ever-lengthening history, and it works ok in that sense. But it's barely an Orb album. [No.91 p.58]

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]

Too frequently, though, the new material doesn't have the constitution to withstand the heavy hand of producer and former Dawes guitarist Blake Mills. [No. 137, p.55]