What used to feel timeless now just feels tired. [Jun 2004, p.107]

The album's middle drags, and as original as they sound on their own, the songs become monotonous by the album's end. [Mar 2004, p.96]

Tortoise sound remarkably un-Tortoise-like on nearly everything... [and] Oldham's stunning vocals are rarely allowed the space they deserve. [Mar 2006, p.126]

Lynn Teeter Flower finds Taylor shaving away some of the layers from her solo debut 11:11 for more subtle ornamentation and experimentation. [Apr 2007, p.182]

Damon Atkinson's drumming is phenomenal as always, and Broach's new, crooning vocal style is an exciting first for the band. If this s what aging gracefully sounds like we back it. [Sep 2011, p.110]

It’s hard to fault them for sticking to that template since it was what helped turn the band into superstars around the world. But as Simple Plan moves outside of their musical comfort zone, it would be great to hear them mess with the formula a little more.

Built off of two piano chords or a single guitar riff, Felix'a music is as ho-hum as their vocals, and without diversity in the songs' chord structure, the album blurs together until what's left is a coffee-table coaster. [Dec 2009, p.113]

Banks is a dense (and sometimes prickly) listen that's not immediately accessible, although it rewards those who give it time. [Nov 2012, p.86]

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]

Harakiri easily contains the best music released under the vocalist's name. [Aug 2012, p.92]

[They] still fuse rock with techno with more nonchalant poise than nearly anybody else, but they've also crafted some of their most gorgeous tunes here. [Mar 2007, p.137]

The main frustration with Meyrin Fields is that neither artist seems hindered individually, only lost to elevate his respective partner in a meaningful way.

No one will argue 5 Seconds Of Summer is high art, but it ultimately works more often than it doesn’t. And, perhaps most important of all, it feels authentic.

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]

Diehard fans might miss Flogging Molly's manic moments, but Darkness' lyrical depth--and sonic diversity--are incredibly rewarding. [Jun 2011, p.111]

The songs themselves are sturdy and powerful, with the right mix of ebb and flow, and ample chug-chug parts for the pit monkeys.

My Shame Is True winds up feeling like white noise more than anything else. [May 2013, p.84]

It results in a dense, difficult grower of an album whose bombast slowly becomes charming swagger. [Mar 2012, p.96]

Their flows are slower, their observations more profound, and their subject matter drifts further inward. [#154, p.83]

What makes this disc so intriguing is its embracing of the latest electronic substrata within the context of chief songwriter Martin Gore's well-crafted pop tunes. [#155, p.67]

The guitars are processed into high-tech oblivion, and every song is eight minutes long when it should be five. [Aug 2003, p.100]

The infusion of new blood, thankfully, seems to have put the Stills' post-punk posturing and emotional distance to bed for good. [Jul 2006, p.194]

As Minus The Bear stray further from the prickly, smartass math-rock of thier early days, the group seem focused on crafting the perfect album to launch them into another dimensuion entirely--and Omni, with its brainy intricacy and adventurous heart, may just be that spaceship. [Jun 2010, p.106]

It's lo-fi simplicity makes for a welcome addition to any CoCoRosie fan's collection. [Oct 2014, p.101]

If the album has a flaw, it's a lack of structure and differentiation; as the music progresses, songs become less distinct and less compelling. [Mar 2015, p.90]

A blissed-out menagerie of subtly morphing beats and elegant melodies within a dub framework. [Oct 2002, p.88]

A rare good covers album--creating successful reinterpretations while piquing curiosity for the originals. [Nov 2001, p.74]

[It] has a charm that transcends your typical noise-splunk band. [Mar 2007, p.145]