The two sides of their musical personality aren't in balance, but it doesn't make this album any less fun or rocking. [Feb 2014, p.92]

Although a bit more of that energy [on tracks like "Your Head Got Misplaced" and "Sick And Impatient"] would've been welcome, Youth is still a lush, inventive listen great for headphones--just not stage-diving.[Jul 2013, p.96]

It's uncomplicated, catchy fun, the equivalent of 21st-century hair metal-and that's meant as a compliment.

The net effect is unsettling distance, not pointed commentary. [Apor 2009, p.134]

Raditude seems intent on establishing itself as a now album, sacrificing any sort of cohesive vibe for a pop-friendly disc designed for car stereos to be turned to 11.

Admittedly, this kinder, gentler Half Japanese lack the shambling brilliance of earlier incarnations, but, hey, we all lose a step with age. [#155, p.76]

Sonic Nurse is better than 90 percent of new rock, but with younger combos like Lightning Bolt and Liars stealing their thunder, these well-meaning vets come off as old and in the way. [Jul 2004, p.134]

Like Creeper's previous albums, Take Back The Universe is a delicate piece of criss-crossing jangles and loose-limbed riffs, but the shimmery sprawl never coalesces into anything concrete. [#154, p.73]

Most of Maritime's debut feels incredibly boxed in. [Aug 2004, p.106]

On the whole, the songs are more tuneful and airy and less spastic than previous riot-on-the-stage efforts. [Mar 2007, p.143]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

Costello clutters many fine compositions with kitchen-sink arrangements and cacophonous production that bring into focus how sorely missed estranged Attractions bassist Bruce Thomas is throughout. [Jun 2002, p.75]

brakesbrakesbrakes are as eclectic (musically) and clever (lyrically) as ever on their third album. [June 2009, p.98]

On The Constant, SOTY have shown they've mastered their current sound. Here's hoping for a little more experimentation next time. [Mar 2010, p.95]

With shorter songs and more restrained production it lacks the epic quality of its predecessor, and overall it is weaker for it.

The subject matter may be a bit heavy, but the beats keep it bouncing along. [Jul 2001, p.73]

Electrified certainly isn't the most original album you'll hear this year, but crunchy pop like this doesn't have to work very hard to impress the indie set. [Jul 2005, p.176]

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

III/IV is the director's cut of a moment in Ryan Adams' all-too-prolific career. It adds dimension in some areas, but may be too much information for causal fans of the singer/songwriter.

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

Sometimes it works, other times it just sounds bitter and gratuitous. [Jul 2013, p.96]

The Postelles flash moments of this talent, but often come off as a pedestrian version of a banal sound.

Rather than try and move these songs into new territory, everyone involved seem hellbent on remaking Lewis into something closer to Sheryl Crow or Shania Twain. It’s a weird place for her to be in, yet one that she looks to be acclimating to quite easily.

If you’ve long hoped for a more mainstream direction and always wanted to hear just how sweet a singer Krauss is, Bitter Rivals could be your favorite Sleigh Bells yet. But if you’re wishing they could’ve evolved in a way that didn’t involve quite so many ballads and especially not at the expense of what made Sleigh Bells so great, this might not be as essential as you presumed it would be.

Unsound falters on ragged tune such as "Sectionals In Mourning" and "Semi-Pseudo-Sort-Of-Plan;" these songs feel far too much like half-finished rehearsal takes that could use some tightening. [Aug 2012, p.92]

Much of the album is comprised of moiody, softly undulating numbers whose beauty is offset by a frictioness drift which prevents them from truly taking hold. [Dec 2009, p.108]

While the album has bright spots, overall it feels a bit dull and without the spark that made 1998's "Midwestern Songs Of The Americas" so fresh and exciting. [Dec 2008, p.132]

In place of Morcheeba's poetic brooding is a poppy, chorus-hook-chorus songwriting style that will probably irk a lot of their fans.... From the sounds of it, Morcheeba are going for the teen-pop market... [#146, p.104]