Breezy, flashy, and fun, but emotionally bereft as well. [Jul 2002, p.81]

At times, the disc trades solid shoegazing for a slip into blase modern rock, with songs that beg for broadcast next to STP and Third Eye Blind; ultimately, however, Gwenmars' recasting of the dark British sounds that lent depth to sunny American movies is intense and compelling. [#153, p.75]

Too many songs rely on sappy love-song cliches, bland arrangements or saccharine lyrics. [Mar 2007, p.135]

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]

As eleventh albums go, Siren Charms is a more than respectable collection. [Oct 2014, p.98]

Johansson sounds more in her element in this one, starting off strong with the bittersweat bounce of 'Relator.' The only misfire on Break Up is an overly arty rendition of 'I Am The Cosmos' by Chris Bell of Big Star. [Oct 2009, p.115]

Monochrome is marred by Hamilton's vocals. [Sep 2006, p.218]

The release does establish Simple Plan as on e of the most consistent acts making music today. [Feb 2008, p.109]

Gone is the rock'n'roll grit reminiscent of '70s Detroit rock, and in its place is a stylishly tailored sound more akin to '60s California pop. [Sep 2004, p.136]

Candy Ass is a mess, drifting without a rudder between half-baked folk and warmed-over electronica. [Feb 2006, p.120]

Almost too stiff to be funny, this might have been a surreal payday in the boardrooms of Berlin, but one presumes the buck stops here. [May 2008, p.142]

Until Reptar develop their own voice, they have to keep making up for their derivative music with enthusiasm. [Jun 2012, p.82]

The good: Tyler Carter and Luke Holland's performance one-ups YouTube tryhards on Paramore's "Ain't No fun"; Set It Off are naturals at this whole "pop" thing, nailing Adriana Grande's "Problem".... The bad: August Burns Red's cover of Miley Cyrus' "Wrecking Ball" tries to make a pp song pissed--it's dated on arrival.... The just plain ridiculous: Upon A Burning Body ft. Ice T covering "Turn Down For What?" [Dec 2014, p.107]

There's not much left for the Vines' frontman other than his music, which on Winning Days seems more like an afterthought--if not the work of an unbearably bad Oasis record. [Apr 2004, p.98]

Good Charlotte are multi-platinum scene superstars, but Cardiology might just be their best effort yet. [Nov 2010, p.112

Unflinchingly heavy, this midtempo metal won't disappoint believers. [June 2003, p.101]

My Damnation is destined to become another album absorbed by the sonic wallpaper of bands copying a similar, well-worn blueprint. [Aug 2011, p.112]

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

Owl City's second major-label effort is much more mature, dynamic and well-rounded. [Jun 2011, p.109]

Consistent--and consistently funny. [Apr 2005, p.124]

Dark Touches has its catchy moments, but sticking a song in the listener's head is not the same thing as creating important music. [Nov 2009, p.109]

The songs feature countless tired hip-pop cliches: gratuitous scratching, tinny programmed beats, burbling keyboards and faux-sexy lyrics. [Mar 2008, p.147]

Often feels like the soundtrack for a party that's running short on ideas. [Oct 2004, p.132]

The album as a whole sweeps across a broad range of stylistic tones, maintaining levity while dabbling in comparably serious musical pursuits. [Aug 200, p.146]

This is an album aimed at minivan-driving moms who saw Incubus live a decade ago, but the boneheaded lyrical cliches and nap-inducing arrangements are likely to bore even them. [Aug 2011, p.114]

Recorrupted's five tracks make for a solid stopgap release.

Though Sublime With Rome's debut LP is a promising collection of summer songs, under the carefully fabricated surface, it's hollow.

Amount[s] to little more than a facsimile of their forefathers. [Nov 2004, p.149]

While we believe that Sum 41 have the potential to succeed without the aid of power chords, the fact that only a handful of the musical ideas on the album are fully developed makes for a frustrating listening experience.

The whole thing possesses the air of a woozy reverie, a gentle disengagement from reality. [Jun 2007, p.162]

Doo-wop-inspired harmonies lend a barbershop charm to the Chicago quintet's earnest and energetic pop-punk sound, though the retro styling of World occasionally comes off as more tired than inspired.

On the whole, the songs are more tuneful and airy and less spastic than previous riot-on-the-stage efforts. [Mar 2007, p.143]

The band's anti-everything style can get annoying if you don't have the patience for heavy doses of idiosyncrasy in your rock. [Jul 2006, p.204]

Peter Gabriel's "Solsbury Hill" loosens up into a glittery anthem, while the Righteous Brothers' "You've Lost That Lovin' Feeling" should have stayed a karaoke favorite. [March 2003, p.94]

Hotel is all vacancy. [Apr 2005, p.128]

While the band's heritage has been hanging on by a thread for decades, The Devil's Rain is but an undercharged defibrillator to its decomposing corpse.

The absence of Paul Leary's drug-fried guitar is unconscionable. [Nov 2001, p.78]

It must have been much more fun to record all of these tracks than it is to listen to them.

Good Charlotte have become caricatures of themselves. [Apr 2007, p.175]

I'm listening to "Free And Freaky"--the third track on this new, horrible Stooges album and possibly the worst song ever written by anyone anywhere--and I can't believe you actually just rhymed "Obama" with "Dalai Lama" and "baby's mama." [Apr 2007, p.191]

Occasionally get[s] a tad too close to Jamiroquai territory. [Nov 2005, p.226]

For the most part, the album rehashes an overdone genre full of blustery, unoriginal, cryptic lyrics. [Mar 2010, p.94]

Seems like a tarted-up version of 1986's Raising Hell.... This is for diehard fans only. [#154, p.87]

Lee's cutesy folk and piano pop leaves us cold. [Mar 2009, p.106]

Since when is pairing Jewel's poetry outtakes with modern-rock riffs groundbreaking? [Aug 2003, p.102]

Crazy World is as phony as they come.

[A] slickly produced holding pattern. [Jul 2003, p.122]

The result: a CD without hooks, impressive guitar pyrotechnics, or anything else, really. [Sep 2006, p.226]

Forgettable to anybody with a soul. [Jan 2004, p.103]

La Luna's overall style is ambient industrial, with a hypnotic, grinding pulse and pounding kick drum, embellished by sporadic rhythmic tappic, guitar growls and strange electronic squiqqles... and while Czukay's industrial groove is righteous, 47 minutes of it is excessive. [Jan 2001, p.87]

Hiller's sense of humor and eclectic tendencies make this recording a deep listening experience. [March 2001, p.81]

The eight tracks here defy formula, instead feeding off of one another in a cannibalistic frenzy of samples and constantly shifting beats... This is a deceptive and brilliant album. [#147, p.98]

As the follow-up to 1997's III, Effector succintly incorporates that disc's pristine sheen and futuristic atmospherics, while moving into more quirky, funk-laden territory. [12/2000, p.94]

Not a true turkey in the bunch. [#153, p. 83]

At an age when most of his peers have ceased to be relevant, [Richard H. Kirk] continues to forge highly charged music that seethes with vitality. [#147, p.89]

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.

On this disc, which collects tracks from three limited-edition singles and adds a few bonus cuts, the group shows their range even more effectively through carefully (and wisely) chosen covers.

They're playing a style of politicized pop-punk with snotty vocals that's too similar to a vastly superior band. [Aug 2011, p.114]

What Happens in Hell Stays in Hell finds the trio beefing up their sound without betraying the genre. [Sep 2011, p.116]

Am I The enemy is their second-best album and a reason to believe in a brighter future. [Sep 2011, p.120]

In Reno especially, the Skulls' Agitation is one of the safest bets a punk can make. [Oct 2011, p.106]