If you're confused and bewildered by Power, you're probably not alone. [Dec 2004, p.146]

The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

Li(f)e's musical concept is great, but he's been better on the mic. [Jun 2010, p.105]

Instead of cleverness, the polished songs indulge here sentimental broken heart. Bandmate M. Ward is mostly content to stay out of the way vocally, but he builds up a castle of retro-instrumental heartbreak for Deschanel. [Jun 2013, p.102]

Granted, the Offspring have always dabbled in lyrical goofiness, but on Splinter, this approach seeps into the music as well. [Jan 2004, p.93]

The riff-roaring arena anthems "Racon Eyes" and "The Firebird" are among the most infectious tracks Priestess have ever written. Elsewhere, the band's retro-fuzz machinations don't fare so well. [Mar 2010, p.98]

Without the usual suspects, The Slow Wonder just seems like a well-produced demo of songs he's readying for Electric Version's follow-up. [Aug 2004, p.116]

The tunes are instantly likeable.... What's missing are the immediate hooks that today's competitors from Katy Perry to Marina And The Diamonds, use to claim Madonna's now-vacant throne. [Jul 2014, p.98]

Distractingly crowded soundscapes throb like an all-night rave, leaving you too exhausted and battered to pay attention to the words, a major deficiency for a hip-hop album.

Pleasant as the diversity is, the finished products are what you'd get from any modern tribute album. [Sep 2012, p.94]

Sleep Forever is a fine album, but you get the sense that if the band focused on their pop sensibilities as much as they do their more seemingly aesthetic inclinations, it would have been a great album.

Dumb Luck is likely to appeal more to the indie-rock crowd than electronica purists. [Jun 2007, p.161]

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]

Makes you scratch your head as much as nod it. [Dec 2004, p.162]

There are hints of something fresh on There's Nothing Wrong With Me. [Dec 2014, p.106]

The result is a record that is frequently too busy. [Feb 2015, p.90]

Crystal Castles is gloriously danceable and hopelessly chic. But really, it's... hearing only...judging is... you know? [Apr 2008, p.162]

They’re ultimately relatable and endearing enough, even though the most jaded of listeners will still roll their eyes at the smarmy nostalgia (“Too Young To Feel This Old”) and new-era YOLO sentimentality.

The best songs... are the ones heavily influened by the Posies' Ken Stringfellow and Jon Auer. [#154, p.98]

Contributions from Chuck D... and Dan The Automator... elicit[s] enough blips on the heart monitor to keep the album from flatlining. [Dec 2004, p.158]

For a bunch of comedians, the Electric Six sure are talented musicians. [Dec 2006, p.189]

The only thing glossier than the production on these high-school hallway-gossip tracks is the shimmery snottiness that permeates [their] lyrics. [Aug 2003, p.106]

Unrewardingly dark. [March 2003, p.90]

It all boils down to the simple question of which songs grab you, so there are certainly reasons to give Appeal a whirl and decide for yourself. [Nov 2008, p.151]

It still feels like they have a bit more work to do before their albums are consistently exciting from start to finish. [Nov 2009, p.109]

Tellingly, 'Angelika' and 'Maria Leonza' only get comfortably loose and silly when halfway finished. With a Strokes-y guitar part and a driving backbeat, the innovative '16th & Valencia, Roxy Music' is hopefully what Banhart will be in the future. [Dec 2009, p.108]

Frontman Chris Carrabba then shifts into the "Mature Artist" EP, showcasing critic-approved influences like U2 and the Cure ("Blame It On The Changes"), but goes too far with the acoustic mewl of "Even Now" (which is so personal, it's awkward) and "The Motions," a failed experiment in '80s pop. [Jan 2010, p. 92]

The collaborations produce some occasional gems, but midway through the disc one gets the impression the X-men are no longer "in their own session." [Feb 2002, p.82]