Somewhat mirthless and at times downright android-sexy, The Eraser is what many Radiohead fans have come to expect from Yorke in recent years. [Sep 2006, p.228]

There's nothing that leaps out as brilliant, just like there's not a single example of the band trying something genuinely risky and new, and falling on their collective face.

Unfortunately, the band overcompensate for all the testosterone with modern-rock romps like "Some Say" and with bland ballads like "Slipping Away." [Dec 2004, p.142]

Like a football running back, it's when the band put their heads down and sprint straight ahead that they score. [mar 2009, p.113]

The trouble is, not much sets this new album apart from their career benchmarks, like 2002's Nothing or 1998's Chaosphere.

A confident and bold album... [but] it unfortunately expends so much energy being spooky and otherworldly that most of the anticipated enchanting beauty is nowhere to be found. [Sep 2005, p.156]

Bruiser is at its best when its tempos are insistent. [Apr 2011, p.114]

The simple, muscular rock and folk are matched in directness by lyrics that keep returning to troubled relationships, and risk the occasional awkward line to make their point. [May 2009, p.121]

My Morning Jacket no longer sound like a band of curious adventurers perpetually at odds with their former selves, and consequently deliver an album that plays like a sort of kid-in-a-candy-shop, take-a-little-of-everything thrill ride. Predictably, results vary.

Unlike more polished bands with little to say after two releases, the Walkmen sound like they're gradually striding into some big shoes. [Mar 2004, p.106]

They're playing a style of politicized pop-punk with snotty vocals that's too similar to a vastly superior band. [Aug 2011, p.114]

Although it sounds pristine, Youth often drifts along aimlessly, mostly because of shapeless songwriting that stresses atmosphere and sound sculpting over structure. [Jan 2014, p.95]

Stag for the most part rocks with biting fierceness and vibrant energy. [#155, p.81]

[An] interesting album. [Apr 2006, p.204]

The results are hit-or-miss. [May 2005, p.132]

Unsurprisingly, he's at his best when he's melding heartfelt lyrics with otherworldly noise. [Sep 2006, p.230]

There's enough classic songcraft here to ensure Forgetting isn't forgotten. [Mar 2012, p.97]

It's not for a lack of experimentation on Collet's part that Rat foregoes any sort of bar raing. It's still a solid forging of '70s-rock gruff. [Apr 2010, p.122]

The only thing missing is Gibbard's unique voice--well, that, and the solid songwriting that made the Postal Service's Give Up a classic, rather than just a pleasant listen. [Mar 2005, p.122]

Mountaintops is still well-crafted (if overwrought), but lacks the punch that'll make you sit up and take notice. [Oct 2011, p.109]

In Many ways, No Age have successfully distilled the pop essence of early-90s Sonic Youth: no mean feat, just not as memorable as last time. [Oct 2010, p.116]

Momento Mori is a good album, with the awesome 'Set Apart This Dream' and 'Again' shining with their anthemic choruses and deft use of pop melody. The tragedy is that it could have been great. [Dec 2009, p.108]

Most of the songs... aren't nearly as interesting as the album's title, offering only random snippets of truly engaging music. [Sep 2005, p.156]

It all combines for an enjoyable listen... provided you block out the lyrics. [#146, p.102]

There's nothing about Robert Sledge and Darren Jessee's performance on Life that will make you realize you're listening to Ben Folds Five. Still, a few songs are gems. [Oct 2012, p.84]

Their uncalculated sound puts them a step above their shamelessly careerist peers like the Von Bondies. [Jul 2005, p.182]

The pieces don't always fit comfortably together, but the picture remains remarkable. [Jul 2013, p.102]

Cruel World's glitchy electronic sound, reminiscent of his solo work on Anticon, sometimes makes it hard to tell there's a band involved. [Aug 2011, p.122]