The band's music is comparable to early Police material that everyone mistook for punk. [Jul 2004, p.146]

The disc is as loose, casual and rollicking as a conversation with an old friend.... across these 65 minutes, his manic energy shines through. [#154, p.87]

Dear John rewards the attentive listener with complexities crafted by a Swedish pop masermind; just don't mediate on the lyrics for comfort after an emotional breakup. [Mar 2009, p.106]

AAL not only continue to cut through genre restrictions, but do so while considering song and structure. [Dec 2016, p.100]

You either listen without prejudice or deem it the most pretentious, boring swill on the planet. [Dec 2007, p.176]

Thanks to the expert production of Brendan O'Brien, the record sounds goddamn phenomenal. [Aug 2012, p.83]

It comes was a welcome surprise that their sixth full-length contains the most visceral, overtly hostile and sinister music of their career. [May 2010, p.102]

It's a solid first salvo from a band who clearly have the chops to make a serious stir. [Sep 2014, p.105]

It’s a good record, to be sure, but that’s to be expected by TBS at this point: These guys are professional musicians who have sold a few million records and toured the world countless times over. Unfortunately, a “good” record just isn’t good enough anymore.

Weak. [Sep 2004, p.140]

It's lovely stuff. [Feb 2014, p.90]

All that really matters is that the White Album’s songs are great, and not just great for the 2016 version of Weezer. They stack up beside the band’s best work of the past 15 years.

For all of its charms, One Kiss Ends It All sounds a bit sdhaky and unfocused. [Jun 2013, p.98]

Lovely and bewitching, Cipher unfolds like an elegantly written novel. [Sep 2010, p.112]

A crank-it-up-Friday-night blowout that's pure exuberance. [Apr 2003, p.74]

Though this is limp-wristed stuff, it's also undeniably beautiful, often recalling Nick Drake and Belle & Sebastian. [#154, p.82]

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

Pure bubblegum, but with an often-faded flavor. [Apr 2012, p.98]

Doom Abuse is great, if only as a reminder of how good Blank-Wave Arcade was way, way back in 1999. [May 2014, p.91]

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

[A] sterling debut. [Mar 2006, p.122]

Not straying too far from the party vibe, Jacuzzi Boys slow things down, but still sound like fun in the sun. [Oct 2013, p.86]

The sixth studio album by the international power-metal squad largely makes the positive changes heard on 2012's The Power Within stick. [Sep 2014, p.106]

Hip-hop is only a fragment of Jmaie T's DIY grenade, and the messy hybrid of punk, rap, and reggae on Panic prevention makes Skinner's grime gleam. [Oct 2007, p.172]

This group's self-titled album creates a warm and fuzzy slow burn akin to the glory days of weird post-rock bands like Karate, Lungfish, and Regulator Watts. [Apr 2013, p.88]

Skeletal Laming furthers the notion that Kevin Barnes is, in fact, the Prince of our generation. [Dec 2008, p.138]

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]

[A] successful collection. [Mar 2013, p.91]