The Sneak Attack proves this pioneer and innovator's run is far from over. [Aug 2001, p.90]

Overall, the band seem to be running long on ambition and short on ideas. [Jul 2005, p.172]

Sounds rather pedestrian. [Jan 2006, p.142]

Despite its pristine arrangements, Colonia turns into sonic NyQuil about halfway through, and ends up a low-day--albeit impeccable-sounding-listen. [Jun 2009, p.102]

The band's anti-everything style can get annoying if you don't have the patience for heavy doses of idiosyncrasy in your rock. [Jul 2006, p.204]

Most of the songs are brutal, chugga-chugga workouts, with Phil Labonte barking like a roid-raging Masshole spoiling for a fight while the band riffs away behind him. [Nov 2010, p.108]

It's not bad, but it's no zobie romance, that's for sure. [Mar 2009, p.113]

The effortless pop smarts are appealing, but the Ruffians will need to vary the delivery if they're expecting a career. [Mar 2008, p.144]

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

Ultimately unremarkable. [Jul 2004, p.134]

It's not bad, but it is slightly disappointing. [Jul 2013, p.102]

You may be surprised to learn that the roadside corpse does more than twitch; it gets up and positively rumbas in places ("Girls of Summer"), while "New Birds" heaves with the same fidgety agitation that occasionally made Joy Division seem special. [#147, p.83]

For every great line on the album, there are three throaway verses. [June 2003, p.96]

A middle-of-the-road OTC record heavy on angelic vocal harmonies and light on innovation. [Apr 2002, p.84]

The first De La Soul full-length lacking a consistent vibe throughout... [#147, p.81]

Doo-wop-inspired harmonies lend a barbershop charm to the Chicago quintet's earnest and energetic pop-punk sound, though the retro styling of World occasionally comes off as more tired than inspired.

With primarily organic instrumentation and warm, low-fi production, nothing is forced--although in some instances, the tracks feel a little too barren, and overall there's not much to distinguish between the songs. [Sep 2009, p.108]

In comparison with many imitators, Tanaka does what he does well... [Aug 2001, p.88]

The record tends to fade into the background and become something so indistinct that it's forgettable, even after multiple listens.

Monochrome is marred by Hamilton's vocals. [Sep 2006, p.218]

At its best, the disc forges a middle ground where trebly guitar power is fortified by the electronics, resulting in a new propulsion. At its worst, the disc is as meaningful as "superstar DJ" sets, designer drugs and having your picture taken by the Cobrasnake. [Feb 2009, p.99]

Title TK isn't awful, but it's too zoned out to draw you in. [Jun 2002, p.71]

Occasionally get[s] a tad too close to Jamiroquai territory. [Nov 2005, p.226]

Unfortunately, the pretentious spoken-word ramblings, corny hooks and unremarkable trance put Maas, along with Paul Van Dyk and BT, in a less illustrious category: top-notch DJs with second-rate albums under their belts. [May 2002, p.90]

Hit or miss. [Dec 2003, p.154]

Choosing to keep the songs dark and dreary bogs down Mini Mansions. That criticism aside, the band know how to craft a song, letting it build and drop when necessary. [Dec 2010, p.114]

The instrumentals falter. [Jun 2004, p.97]

Burn The Maps' muted vibe demands that you turn down the lights, fire up the candles and listen hard. [Mar 2005, p.132]