If you're confused and bewildered by Power, you're probably not alone. [Dec 2004, p.146]

The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

Li(f)e's musical concept is great, but he's been better on the mic. [Jun 2010, p.105]

Instead of cleverness, the polished songs indulge here sentimental broken heart. Bandmate M. Ward is mostly content to stay out of the way vocally, but he builds up a castle of retro-instrumental heartbreak for Deschanel. [Jun 2013, p.102]

Granted, the Offspring have always dabbled in lyrical goofiness, but on Splinter, this approach seeps into the music as well. [Jan 2004, p.93]

The riff-roaring arena anthems "Racon Eyes" and "The Firebird" are among the most infectious tracks Priestess have ever written. Elsewhere, the band's retro-fuzz machinations don't fare so well. [Mar 2010, p.98]

Without the usual suspects, The Slow Wonder just seems like a well-produced demo of songs he's readying for Electric Version's follow-up. [Aug 2004, p.116]

The tunes are instantly likeable.... What's missing are the immediate hooks that today's competitors from Katy Perry to Marina And The Diamonds, use to claim Madonna's now-vacant throne. [Jul 2014, p.98]

Distractingly crowded soundscapes throb like an all-night rave, leaving you too exhausted and battered to pay attention to the words, a major deficiency for a hip-hop album.

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

Sleep Forever is a fine album, but you get the sense that if the band focused on their pop sensibilities as much as they do their more seemingly aesthetic inclinations, it would have been a great album.

Dumb Luck is likely to appeal more to the indie-rock crowd than electronica purists. [Jun 2007, p.161]

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]

Makes you scratch your head as much as nod it. [Dec 2004, p.162]

There are hints of something fresh on There's Nothing Wrong With Me. [Dec 2014, p.106]

The result is a record that is frequently too busy. [Feb 2015, p.90]

Crystal Castles is gloriously danceable and hopelessly chic. But really, it's... hearing only...judging is... you know? [Apr 2008, p.162]

They’re ultimately relatable and endearing enough, even though the most jaded of listeners will still roll their eyes at the smarmy nostalgia (“Too Young To Feel This Old”) and new-era YOLO sentimentality.

The best songs... are the ones heavily influened by the Posies' Ken Stringfellow and Jon Auer. [#154, p.98]

Contributions from Chuck D... and Dan The Automator... elicit[s] enough blips on the heart monitor to keep the album from flatlining. [Dec 2004, p.158]

For a bunch of comedians, the Electric Six sure are talented musicians. [Dec 2006, p.189]

The only thing glossier than the production on these high-school hallway-gossip tracks is the shimmery snottiness that permeates [their] lyrics. [Aug 2003, p.106]

Unrewardingly dark. [March 2003, p.90]

It all boils down to the simple question of which songs grab you, so there are certainly reasons to give Appeal a whirl and decide for yourself. [Nov 2008, p.151]

It still feels like they have a bit more work to do before their albums are consistently exciting from start to finish. [Nov 2009, p.109]

Tellingly, 'Angelika' and 'Maria Leonza' only get comfortably loose and silly when halfway finished. With a Strokes-y guitar part and a driving backbeat, the innovative '16th & Valencia, Roxy Music' is hopefully what Banhart will be in the future. [Dec 2009, p.108]

Frontman Chris Carrabba then shifts into the "Mature Artist" EP, showcasing critic-approved influences like U2 and the Cure ("Blame It On The Changes"), but goes too far with the acoustic mewl of "Even Now" (which is so personal, it's awkward) and "The Motions," a failed experiment in '80s pop. [Jan 2010, p. 92]

The collaborations produce some occasional gems, but midway through the disc one gets the impression the X-men are no longer "in their own session." [Feb 2002, p.82]

If Euphoric has a weak spot, it's that Glasvegas' desperation can become overwrought. [May 2011, p.93]

What none of these songs has... is a hook that sticks with you. [Jul 2006, p.204]

A highly charged and welcome return. [May 2011, p.93]

The album runs a tad long--and it's difficult to suss out the band's individual voice from underneath the weight of their influences. [Mar 2011, p.92]

I Bet On Sky can feel a bit sleepy--although noise-cracked solos and psychedelic-quicksand riffs ultimately keep things lively. [Oct 2012, p.88]

If you’re in the market for something sullen, you could do a lot worse. But if you’re yearning for any of what likely drew you to Moving Mountains in the first place, you probably need to hope it happens the next time around.

Like most everything else here, it's a dancing no-brainer. [Mar 2011, p.92]

This record possesses a contagious energy that exists not in lieu of a hook but actively as the hook. [Feb 2013, p.90]

Chirpin Hard makes you feel like you're getting chased by a swarm of giant mosquitoes in a scrolling Mega Man hellscape circa 1992, while Church Gone Wild is a nerve-shattering whirlwind of atonal chaos. [May 2005, p.168]

[It] comes off as another Albarn project that's neither amazing or anathema. [Feb 2007, p.122]

This record sounds like Story Of The Year if they weree from the UK--energetic pop-hardcore that's ultimately a bit on the fogettable side. [Jul 2009, p.122]

Cheap Girls’ songs blur together--hell, so do their albums--but it’s something to take a deeper look at.

Occasionally he resembles a Pakistani Bryan Ferry. Is this a good thing? It is if you like Pakistani Bryan Ferrys. [#155, p.70]

Anyone wishing to reminisce about the golden age that was the third wave of ska-punk will find plenty to like, though, as by its very nature, TV/EP sounds like something straight outta '97.

Drummer George Barnett's military-precision beats are way up in the mix, but the band dynamic that made "Pyramid" so engaging, vibrant and coruscating, is virtually non-existent. [Apr 2010, p.130]

Overall, The Boy With No Name has just enough personality to remind imitators like Coldplay and Keane from whence they came. [Jun 2007, p.151]

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]

There's not much sonic discovery or eviscerating emotion here to elevate godhead outside the Pro-Tools realm of co-headlining tours with Stabbing Westward. [#151, p.82]

Red Barked Tree is something of a letdown, oddly placid and even soothing. [Feb 2011, p.90]

For a young, non-jaded Pantha Du Prince fan, though, this could resonate yet.

The gently frenetic interplay between instruments works in the opener "Cut From The Cloth," but tires after nine carbon copies. [Jan 2007, p.134]

While their weird is very often wonderful, these 10 tracks are somewhat inconsistent. [Oct 2014, p.98]

The group's fourth outing supports singer Joel Pott's super-earnest reflections with melodies and arrangements direct and sturdy enough to bear the emotional weight. [Feb 2009, p.92]

Fire's beauty often feels distant and untouchable. [Sep 2005, p.164]

There's a foundation for true duality somewhere, but a lot of growing pains as well. [Nov 2014, p.94]

When Last Secrets works, it's awesome... but thanks in part to sequencing, it drags toward the end. [Jun 2006, p.180]

The need for The Need is debatable, but it's a nice addition to Anticon's growing catalog of successful experiments. [Mar 2007, p.144]

The serious tone is a natural progression for the Sounds but Rubicon's downfall is that it's songs don't linger much after the music stops. [Jul 2009, p.128]

When they stick to the ’60s Cali Pop of the uplifting “We Are Done” and dreamy “California Rain,” they produce some remarkably winning songs worthy of van-loads of bearded, guitar-toting indie popsters aping the Beach Boys and the Mommas And The Papas. When they miss, though, it’s more unbearable than rush hour traffic on the 405.

This could-be landmark is dragged down a few notches by a grating singer. [Apr 2015, p.90]

Hypnotize isn't a radioactive pile of suck, but had the Down boys offered some genuine hairpin turns in their aesthetic, there might be more reason to pursue a more meaningful dialogue that transcends the tired notion of "System just being System." [Jan 2006, p.127]

Strange Geometry is a comely piece of old-fashioned melancholy pop, but it can also quickly turn into sonic wallpaper if you have a wandering mind. [Dec 2005, p.202]

Gone are the Mary Poppins samples and the rest of the duo's anything-goes ethos; Breakfast is filled instead with Cap'n Crunch-y nuggets of pure, sweet, mainstream hip-hop. [Mar 2012, p.97]

For some reason, the Stooges decided to get moody on a trio of acoustic-based tracks, letting their singer respond by going into full on crooner mode. That sort of twaddle may fly on Pop's solo records, but when they go up against the slinky, deep pocket grooves of the rest of the album, the songs feel pale and hollow.

A bit too jammy at times, but this is another solid effort for both artists. [Oct 2005, p.158]

Frustratingly, Jukebox takes a more soft-focus tack. [Feb 2008, p.114]

Don't get too far ahead of yourself--a sing-along is virtually impossible since deciphering HEALTH's lyrics is quite a challenge. They may have mature a bit, but some things will never change. [Oct 2009, p.110]

Only one or two tracks capture that combination of venom, wit and old-time Northwest angst that made Mudhoney one of the grunge movement's standouts. [Oct 2002, p.88]

It's a deathfest of sound and fury, quietly melancholy and fiercely apocalyptic. But it's a tale that grows wearier with every listen. [Sep 2004, p.122]

Certain segments remain faithful to the original material while others are unrecognizable through veils of sawing bass, guitar clank, expansive percussion marches and a gang of 50-year-old dudes reliving their adolescence through music and busted guts. [Dec 2014, p.107]

While there are moments of buzzing, high-flying bliss on Githead's third LP, one can't escape the sensation of horizon-hugging deja vu. [Jan 2010, p.94]

dios (malos) is missing something--namely, guitarist Kevin Morales. [Dec 2005, p.212]

Crisis Works has a hard time maintaining the momentum it jumps out of the gate with, but while it is going full throttle, all you can do is cling on for dear life and enjoy the hell out of the ride. [Jun 2011, p.111]

A whole that's less than the sum of its parts, a bittersweet pill that's best taken in small doses. [Feb 2005, p.88]

It means "Everything You Think You Know," "Smoking Kills," and "Day Man," while not bad, do feel slightly generic, which unfortunately diminishes the power of these well-intentioned, heart pounding songs. [Oct 2014, p.98]

Decas is not exactly coherent listening experience. Still, it's a worthy addition to the band's weighty catalog. [Dec 2011, p.118]

It's a fun album, full of off-kilter, electro-tinged grooves. Trouble is, backpacker/conscious/positive hip-hop is every bit as cliched as the most unthinking gangsta rap. [Apr 2008, p.163]

The result captures him turning into an old-fashioned troubadour, one fueled by big issues and a country/hip-hop hybrid that's never sounded catchier. [June 2008, p.131

A match-up like this one needs the right balance between angel and devil, and... Campbell's fragile alto is just no match for Lanegan. [May 2006, p.162]

What sounds like leftovers from Miller's last solo effort and bizarre surf-rock-inspired numbers rear their ugly heads, leaving these Lone Star Staters in jeopardy of repeating the grade. [July 2008, p.158]

He and his mercenaries swing cleverly from noodly instruments to introspective acoustic ditties, but never settle down long enough to let their concoction congeal. [Jul 2009, p.127]

The CD's air of politeness pushes this pleasant pop music into the background. [Oct 2002, p.92]

Every band represented on For The Lions are hardcore legends, and Hatebreed do their songs justice--they just don''t deliver anything in the way of innovation. [Jun 2009, p.104]

Much of Dust is nearly indistinguishable from the British trip hop Muggs' tripped-out productions helped inspire. [Apr 2003, p.82]

This 18-song, one-hour compilation is a spawling, hit-or-miss affair. [Jan 2011, p.90]

Contains all the usual suspects: a few great songs, a few throwaways, a bunch of head-scratching song titles and indie rock's best take on the Who. [Mar 2006, p.124]

It's smooth going down but lacks any real notable songs. [Apr 2008, p.153]

Mohager ultimately forgets there's a fine line between homage and aping, but if your dream gift is a time capsule from the Reagan Years get ready to discover your new favorite record. [Jul 2011, p.107]

The album sounds, not surprisingly, overproduced, lacking even a hint of the earthy quality of 'I Do Not Want...' and leaving little space for O'Connor to stretch out vocally. [#146, p.96]

Speakers and Tweeters is an admirably varied effort from a band whose Two-Tone jones is just the starting point. [June 2008, p.137]

There are few hooks to grab the ear or inspire repeat listening. [Apr 2002, p.86]

These impressive vocal arrangements suffer when Ida leave them alone in the spotlight. [Feb 2005, p.88]

Even if Banks sticks to the "I've got two secrets but I only told you one" songwriting approach, hopefully a band shakeup will spark the soulfulness only occasionally heard in his contributions. [Oct 2010, p.118]

It's about as close a facsimile of the fractured and foreboding scattershot thoughts that haunt most of us at night as one can capture on record. [Feb 2008, p.115]

There are enough interesting moments... that each spin reveals a new nuance that makes this genre roundrobin worth signing up for. [Nov 2005, p.218]

[It] feels more put-on than intimate, more tried than true. [Feb 2007, p.109]

Owen leave behind the emotional outbursts of his collaborations with his brother Tim in Cap'n Jazz, Joan Of Arc and Owls, but keep a quieter, suburban rage alive on his sixth album. [Dec 2011, p.121]

Like Merzbow jamming with a broken dishwasher through a short-wave radio. [Nov 2004, p.146]

Other than the booming, Devo-ish vocal effects on "Spacetime," these songs aren't pushing the envelope--but you should still tear it open and look inside. [Aug 2011, p.114]

Much of ex-Lives is encumbered by well-trodden ground turned muddy and attempts at atmosphere. [Apr 2012, p.96]