A perfectly pleasant background score for pasta-making, garden work, and other stuff 40-something yuppies waste their time on. Which makes it my definition of hell, actually. [Jul 2001, p.60]

A dozy dud. [Jun 2004, p.98]

Easy like a Sunday morning, and just as dull. [May 2004, p.110]

A raging slab of beats and sick samples accruing at a rate that may well cause motion sickness. [Dec 2002, p.86]

This is an album of spontaneous originality and should be appreciated as such. [May 2009, p.114]

With some pop, college rock, post-punk and even shoegaze thrown in for good measure, TV en Français is the most complete We Are Scientists record. [Apr 2014, p.94]

This five-track EP has the steamy, summery sound of a Jamaican club in full riot mode.

The net result sounds like a band trying--and mostly succeeding--to merge their youthful past and mature present. [Feb 2011, p.87]

Dogs Eating Dogs is a strong effort.

Pariah isn't without its merits, and diehard fans will likely find few flaws anywhere. But for the casual listener, the album might seems a little less "Of The Room" and a little more "Rent." [Jul 2009, p.126]

The proceedings sound loose, yet focused but never disappointing. [Apr 2008, p.160]

Sadly, the electro-plated Evil Heat is neither evil nor particularly molten. [Jan 2003, p.99]

Dominated by sparse instrumentation and lyrics that are merely good... relatively lifeless tunes. [12/2000, p.115]

It's rare for a band to channel the Velvet Underground, Nirvana, Dandy Warhols and the Beatles within the span of 45 minutes and sound unique, but the Vines have crept into that select category with Highly Evolved. [Aug 2002, p.86]

Not many albums make you smile so much your face hurts. [Oct 2005, p.156]

While he doesn't go too far into weeds with avant-garde tendencies, Aimlessness is still a daring collection of electronic pop. [Jul 2012, p.90]

Undoubtedly his catchiest record so far. [Feb 2007, p.122]

The Century of Self finds the pride of Austin, Texas, continuing to push baroque prog-rock to orchestral new heights. [Mar 2008, p.112]

Hurley isn't perfect, but it's the best thing Weezer have done in quite some time, and that's all we can hope for-until the next Nirvana comes along, of course.

Although memorable hooks are few and far between... there's no denying the album's ferocity. [Mar 2005, p.132]

The Church's languid melancholy sedates rather than seduces. [Feb 2004, p.88]

Though there's little here to entice newcomers, fans should rejoice. [Mar 2002, p.77]

The good news is that in their quest not to make fly-away pop, Air have unearthed a bizarre and dark sense of humor that allows them to subvert and celebrate their new gloomier chops. [Jul 2001, p.59]

The cumulative effect is a widescreen collection that seems destined to win a broader audience for the duo without sacrificing the intimate I-feel-you-fucked-up-life atmosphere of their best work. [May 2008, p.144]

It's an LP that finds the band in complete comfort with in their place in the musical universe and willing to stretch out here and there into slightly uncomfortable postures.

Bland and undistinguished. [Aug 2005, p.178]

One can only wonder how Sinners Never Sleep would have fared had it been more consistent. [Nov 2011, p.98]

The Ghost Inside are one of hardcore's brightest lights, and Get What You Give is a perfect example of heavy music with a high IQ.