A highly charged and welcome return. [May 2011, p.93]

The album runs a tad long--and it's difficult to suss out the band's individual voice from underneath the weight of their influences. [Mar 2011, p.92]

I Bet On Sky can feel a bit sleepy--although noise-cracked solos and psychedelic-quicksand riffs ultimately keep things lively. [Oct 2012, p.88]

If you’re in the market for something sullen, you could do a lot worse. But if you’re yearning for any of what likely drew you to Moving Mountains in the first place, you probably need to hope it happens the next time around.

Like most everything else here, it's a dancing no-brainer. [Mar 2011, p.92]

This record possesses a contagious energy that exists not in lieu of a hook but actively as the hook. [Feb 2013, p.90]

Chirpin Hard makes you feel like you're getting chased by a swarm of giant mosquitoes in a scrolling Mega Man hellscape circa 1992, while Church Gone Wild is a nerve-shattering whirlwind of atonal chaos. [May 2005, p.168]

[It] comes off as another Albarn project that's neither amazing or anathema. [Feb 2007, p.122]

This record sounds like Story Of The Year if they weree from the UK--energetic pop-hardcore that's ultimately a bit on the fogettable side. [Jul 2009, p.122]

Cheap Girls’ songs blur together--hell, so do their albums--but it’s something to take a deeper look at.

Occasionally he resembles a Pakistani Bryan Ferry. Is this a good thing? It is if you like Pakistani Bryan Ferrys. [#155, p.70]

Anyone wishing to reminisce about the golden age that was the third wave of ska-punk will find plenty to like, though, as by its very nature, TV/EP sounds like something straight outta '97.

Drummer George Barnett's military-precision beats are way up in the mix, but the band dynamic that made "Pyramid" so engaging, vibrant and coruscating, is virtually non-existent. [Apr 2010, p.130]

Overall, The Boy With No Name has just enough personality to remind imitators like Coldplay and Keane from whence they came. [Jun 2007, p.151]

It's a shame that in those rare moments Lacuna Coil do stick out their necks, the results are the uninspired, tepid radio rock of Shalow Life's 'Unchained' and 'The Pain.' [Jun 2009, p.104]

There's not much sonic discovery or eviscerating emotion here to elevate godhead outside the Pro-Tools realm of co-headlining tours with Stabbing Westward. [#151, p.82]

Red Barked Tree is something of a letdown, oddly placid and even soothing. [Feb 2011, p.90]

For a young, non-jaded Pantha Du Prince fan, though, this could resonate yet.

The gently frenetic interplay between instruments works in the opener "Cut From The Cloth," but tires after nine carbon copies. [Jan 2007, p.134]

While their weird is very often wonderful, these 10 tracks are somewhat inconsistent. [Oct 2014, p.98]

The group's fourth outing supports singer Joel Pott's super-earnest reflections with melodies and arrangements direct and sturdy enough to bear the emotional weight. [Feb 2009, p.92]

Fire's beauty often feels distant and untouchable. [Sep 2005, p.164]

There's a foundation for true duality somewhere, but a lot of growing pains as well. [Nov 2014, p.94]

When Last Secrets works, it's awesome... but thanks in part to sequencing, it drags toward the end. [Jun 2006, p.180]

The need for The Need is debatable, but it's a nice addition to Anticon's growing catalog of successful experiments. [Mar 2007, p.144]

The serious tone is a natural progression for the Sounds but Rubicon's downfall is that it's songs don't linger much after the music stops. [Jul 2009, p.128]

When they stick to the ’60s Cali Pop of the uplifting “We Are Done” and dreamy “California Rain,” they produce some remarkably winning songs worthy of van-loads of bearded, guitar-toting indie popsters aping the Beach Boys and the Mommas And The Papas. When they miss, though, it’s more unbearable than rush hour traffic on the 405.

This could-be landmark is dragged down a few notches by a grating singer. [Apr 2015, p.90]