Their fourth album, Right Thoughts, Right Words, Right Action is just as resolute as the title. [Sep 2013, p.88]

Tokyo Police Club retain their enthusiasm with Champ; they just want to show off the new tricks in their pony show. [Jul 1010, p.130]

Being bent out of shape never sounded so good. [Mar 2007, p.142]

Though not as striking as True Devotion, it still tugs earnestly at your heartstrings. [May 2012, p.85]

End Times is easily one of Eels' finest achievements. [Feb 2010, p.93]

The album's primary footholds--those downstrokes; that kick drum; those poker-faced paeans to wizards and wenches--are as true, and as sinisterly black-and-blue, as doom metal gets. [May 2008, p.136]

While the band's last album, Amber, showed the beginnings of something great, Amber, while not perfect, has actual moments of brilliance. [Mar 2006, p.134]

For fans of Sigur Ros and Mogwai, this is a godsend, but those who feel like those bands just incessantly mine one-chord riffs would do better to stay away. [May 2004, p.96]

Suave yet sublimely ridiculous... most of Uh-Oh raises the stakes by escalating nearly every aspect to critical mass. [#153, p.88]

Elan Vital is easily the band's most adventurous disc to date. [Jun 2006, p.178]

The moodiest moments are what ultimately make this album Phantom Planet's best. [May 2008, p.140]

We're fans of Thorburn's day job, too, but this actually wins out when it comes to Sunday relaxation tunes. [Oct 2008, p.153]

The warm spirit that emanates from this loving tribute should be more than enough to keep you cozy through the cold months ahead.

Despite the variety and many obvious influences... the Greenhornes leave their own unique fingerprint on every song. [Feb 2006, p.126]

The Menzies score big about half the time. [May 2014, p.93]

Mediocre. [May 2007, p.162]

All that keeps Zoo from being a perfect record is the nagging feeling that Ceremony has even better work ahead. [Apr 2012, p.90]

As was true in those bygone days, the hippieish uplift can get a little fuzzy, but the bass-rattling jolt of "Buffalo" will clear your head--and fill the floor--fast. [Sep 2014, p.104]

Gardner and drummer Jason Hammel discover a prettier, fuller-bodied sound and enrich it with other instruments, such as strings on the inviting opener, 'Get Better.' [June 2008, p.130]

Though the album gets too repetitive, the uniformity of Acolyte still serves the band's purpose: Make the floor move.

The [absence of original bassist Dave Allen and drummer Hugo Burnham] is felt; at times, the album lacks the urgency and energy of the band's best work. Still, Content is an uncompromising experience. [Feb 2011, p.87]

His earnest vocals and easygoing spirit evoke both nostalgia and excitement for what may lay around the next bend in the road--a difficult feat he makes sound effortless. [Mar 2012, p.98]

Some of Bury Me In My Rings lacks gravity, but Sennett finds emotional weight on acoustic "Jailbird" and album standout "Born To Love You." [Jun 2011, p.107]

Thankfully, Damage easily bests the previous two Jimmy Eat World full-lengths, and its high points rival those of Futures and Bleed American.

Even [Haines'] coos about war can't make Live feel urgent or save its slanted art-rock outbursts. [Dec 2005, p.214]

Most of Boroughs feels like they're sampling themselves. [Aug 2004, p.120]

Offers few intriguing instrumental twists and only the faintest percussive pulse. [Aug 2004, p.106]

Whereas the Beckster tends to wriggle cheekily along to his funk, and Badly Drawn Boy does his own thing in spite of it, Gorillaz don't give a rat's ass about acting funky; they just are. [July 2001, p.68]