At times, the album gets a little precious, but the more inspired moments are truly undeniable. [Jun 2007, p.156]

With Ancient Melodies, Built To Spill are concentrating more on developing a single idea rather than worrying about the patchworking of the past. This fails to play to Built To Spill's strength: their firm handle on alt-guitar dynamics. [Aug 2001, p.78]

[Stephin] Merritt likes to sing about dancing--'I'm Lonely' gives us good reason to join him on the floor. [#147, p.92]

There’s a good deal of filler on In A Warzone, to be sure, but fortunately there are still some rewards awaiting those who stick it out.

While the musicianship is first-rate, the middling tempos and docile, homogenous instrumentation quickly grow boring. [Oct 2002, p.94]

Although memorable hooks are few and far between... there's no denying the album's ferocity. [Mar 2005, p.132]

Farm isn't the kind of Dino record that has a keeper single like 'Start Choppin'' or 'Feel The Pain.' Instead, it boasts some of Mascis' biggest departures under the Dino name. [Aug 2009, p.110]

Though their sometimes generic juddering occasionally dulls the impact, it's still clear the Color Morale are trying to be more than just "another one of those bands." [Apr 2013, p.88]

You'd be hard pressed to find a more confessional album released this year. [Dec 2003, p.142]

Merely okay. [Apr 2007, p.194]

Young New England may not define Transit, as it's wildly uneven and sometimes oddly raw, but there's enough good here--the missteps, you'll listen and forgive. [May 2013, p.91]

This restless, rootless disc suggests Cex hasn't settled on his future destination just yet. [Aug 2006, p.222]

Nothing Hill works best when Adamson keeps his mouth shut and focuses on crafting moody instrumentals. [Oct 2002, p.76]

Asstoria radiates a childlike glee and naivete you'll wish you still had. [Apr 2003, p.70]

Though this is limp-wristed stuff, it's also undeniably beautiful, often recalling Nick Drake and Belle & Sebastian. [#154, p.82]

A reliance on monotonous tempos and rhythms--and a disappointing lack of melodic variation--further make Endless Now fell curiously lethargic. [Sep 2011, p.112]

Like a late-night screening of Blue Velvet, it may be hard to get through, but impossible to ignore. [Dec 2011, p.121]

Overall, the songs are well-written and daring. Some tracks are more successful than others (”Where Did It Go?” and “Vultures” are standouts), but it is an altogether engaging listen.

Lightspeed Champion somehow fail to generate the true emotional sentiment that was the crux of the artists he's drawing from...Hynes has matured, though. [Mar 2010, p.94]

There's nothing bad here, but also nothing new. [June 2003, p.103]

Far from essential, but... a good jazz starting point for the unitiated. [Mar 2003, p.90]

For Matchbook Romance, Voices is adventurous. [Mar 2006, p.122]

There's lots of talent in this New York sextet, but it gets lost in all the unbridled exploration and layers.

With its techno beats, yowling vocals and laughably cliched lyrics, "I Am Your Skin" fumbles at being a love song, while "She's So Bendable" (the band's vision of Lou Reed fronting the Jesus And Mary Chain) is beyond generic. [Jan 2010, p. 92]

Pleasant, if not very gripping... [March 2001, p.70]

The addition of electric instruments and Morello's nasal speak-singing do make Rebel Songs read a little like a radicalized Dylan. [Sep 2011, p.116]

The least pretentious--and most accessible--thing AYWKUBTTOD have ever released. That's probably because it sounds a lot like your record collection. [Feb 2005, p.92]

They haven't lost any of their quirky cool mojo. [Nov 2001, p.97]