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]