Ultimately unremarkable. [Jul 2004, p.134]

All four members are back in the fold and each one sounds like they're playing with purpose and energy. [Jul 2017, p.82]

While it isn't his best work, Rain on Lens shows that Callahan is proving to be frustratingly hard to pin down, but capable of unleasing brilliance at any given time. [Nov 2001, p.94]

Wratten's finest post-Field Mice LP. [Dec 2001, p.98]

Mostly stuck in a low gear. [Dec 2003, p.156]

All told, this is hardly a bad addition to Eisley's burgeoning catalog—their development is obvious, and there are enough quality songs present to improve that theoretical "greatest hits" collection for their live show.

While Personality is all masterful and ambitious, nothing really sticks in the end. [Sep 2006, p.232]

It contains the band's most focused songwriting since the last album Gottehrer produced, 2005's Pretty In Black. [Oct 2012, p.92]

It's a shame it's a one-off, because Dark Night's trippy, psychedelic tunes are a true treat for your ears. [Aug 2010, p.146]

Their [Daniel Blumberg and Neil Hagerty's] collaboration resulted in an album that requires close attention to find the golden details hidden in its crevices. [Aug 2013, p.88]

John Gourley gives the envelope a token push but lays back a little too much into his comfort zone; the rest of the band abet him with lucid and calm performances. [Aug 2011, p.118]

Their best album to date. [Apr 2013, p.85]

Pensive and engaging, Jumping The Tracks is the quintessential headphones record that gets better with each listen. [Mar 2014, p.88]

While Release has all the hallmarks of a great DJ mix album, it's a record meant for pop consumption. [Nov 2007, p.176]

It's surprisingly how generally lukewarm the music is on Newman's sophomore effort, Get Guilty. [Feb 2009, p.103]

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]

What matters is The Futureheads have made significant artistic and personal inroads to make sure their fans' enthusiasm rises to match theirs. [July 2008, p.158]

Turner's third solo release shows how versatile he is as he single handedly bridges the gap between Brian Fallon and Billy Bragg. [Oct 2009, p.115]

When it works, it’s great; when it doesn’t, it feels clunky at best and skippable at worst.

TBS still manage to drive home those angst-filled undertones fans have both embraced and expected since the band's inception. [Oct 2016, p.90]

The paino ballads make Black Dirt more melancholy than previous efforts, but no less masterful. [Jun 2010, p.102]

The feeling isn't sucked out yet, but the focus is. [Sep 2002, p.92]

Has an infectious energy that keeps things from growing stale. [May 2002, p.84]

Daybreaker is their best yet. [Jul 2012, p.90]

A bona-fide motherfucker of a stoner jam. [May 2006, p.170]

It's a clear sequel that continues the character profiles and storylines frontman Rhett Miller created last time around. [Aug 2011, p.118]

There's still dead air begging for Wedren to fill it--preferably with stronger melodies and more lingering turns of phrase--but until his old band reform and make a comeback album, Wand is well worth waving.

La Di Da Di urges you to dance and then challenges you to keep up with every bob, weave and time signature shift. [Oct 2015, p.98]