This is some subversive fun. Baffling, however, is a nearly note-for-note sonic reproduction of the Queen hit "Bohemian Rhapsody." [Mar 2013, p.93]

More Light... burns with a raw intensity, albeit sandwiched between moments that recall Mascis' acoustic and goofy backwoods major-label work. [Jan 2001, p.94]

Despite the obvious problems with continuity and flow (not to mention the general concept of time, as in the amount of actual time it takes to comb through 99 tracks), there's still a lot of good music on Occupy This Album.

There are good cop/bad cop phrasing, well-placed electronic glitches and enough predictable, djent-ish riffing to keep the pit going. [Sep 2014, p.104]

An album that hangs together surprisingly well. [Oct 2002, p.90]

Most of Boroughs feels like they're sampling themselves. [Aug 2004, p.120]

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]

It's a great album to have on hand for a wild party, but piping it through your headphones will have you skipping tracks. [Feb 2011, p.89]

Their fourth effort is sabotaged by a weak second half spent on played-out '80s darkwave fascinations. [Nov 2012, p.94]

Though the music on Revelling/Reckoning ranges from brilliant to mediocre, DiFranco's bold, descriptive lyrics (as usual) redeem any shortcomings. [#155, p.75]

As eleventh albums go, Siren Charms is a more than respectable collection. [Oct 2014, p.98]

Nothing on Sixes & Sevens quite lives up to the giddy brillance of the "Juno" soundtrack, but the music will still inspire you to draw hearts around your crush's name in your fifth-period notebook. [May 2008, p.134]

High Llamas make the trendy retreat into their parents' soundtrack-filled record collection, and on Buzzle Bee, they use a film editor's aesthetic to cut, splice and dissolve their Pet Sounds-based pop into scenes from the celluloid past. The result is as atmospheric as Air, but not as danceably substantial. [#152, p.81]

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]

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]

There are enough sparkly pop moments here to suggest Rooney could become, like the best Hollywood exports, a guilty pleasure. [Aug 2003, p.105]

An acquired taste. [Sep 2004, p.124]

It feels like the afterthought it most likely was. [Oct 2002, p.77]

It seems silly to declare Time To Die too well put together, but it's not always the shapest knife that gets the most use. [Oct 2009, p.110]

Del wisely keeps things simple on the audio front, lubricating many of his basic, old-school beats with the good old P-Funk bottom of his early years. [Mar 2008, p.147]

There is little on Golden State to differentiate it from its predecessors. [Dec 2001, p.76]

If you read The Wire, you probably already own [Kesto], but if you don't, don't bother. [Jul 2004, p.148]

His world-music diversions should challenge even those who aren't pedestrian Iron & Wine fans--but that's what EPs are for, right? [Apr 2005, p.116]

It's not brilliant, and some tracks are just dumb. [Jun 2007, p.156]

World Peace is a frustrating experience, moving too quickly between temperaments and overstaying its welcome by a good 20 minutes.

Here, vocalist Yuki Chikudate's stacked, reverberating vocals sparkle like the glint of light off of fresh morning dew. [Apr 2009, p.134]

They focus too little on well-made songs and too much on creating an angst-ridden atmosphere. [Jul 2002, p.78]

With a deeper, more mature sound, Halfway sounds like the work of a producer in mid-career crisis making music inspired by the dancefloor, but not shackled to it. [12/2000, p.89]