The saccharine harmonies are still present on the title track; they're just augmented with more expansive arrangements that bring out a welcome new dimension to the band's sound. [Apr 2011, p.114]

Only the album-ending title track tones down the noise, and even then, it's about as restrained as early Husker Du. [May 2005, p.132]

Plays out like a sequel to BF5's last album... with one key element missing: humor. [May 2005, p.172]

Ultimately, the album's main fault is its resolute consistency, namely the fact that things basically run on one speed, and it gets repetitive quickly.

This heart-cleansing vulnerability renders much of Final Straw's latter half monotonous. [May 2004, p.96]

After four very similar albums, they seem to be in danger of painting themselves into a corner. [Jun 2003, p.93]

It's ain't perfect, with some primitive playing popping up at inopportune times. But if you're after a soundtrack for these late summer months, look no further than Lost Control. [Sep 2013, p.88]

Longtime Black Lips fans will notice a more polished production compared to past albums, but it also seems apparent that these boys have barely begun to scratch the surface when it comes to showing us what they've made of. [Nov 2007, p.170]

Young has a good chance at becoming a worthy replacement for the Postal Service; he just needs to monitor the ratio of sugar to substance on subsequent efforts. [Oct 2009, p.111]

There is a breadth of influence throughout, even if the energy level rarely falls below absurdly scorching and the sonic approach remains a fuzzy haze. [Apr 2008, p.150]

At times their odes to the long-gone era of '60s psychedelia get lost in their lofty ambitions. [Apr 2004, p.84]

Though there's little here to entice newcomers, fans should rejoice. [Mar 2002, p.77]

A precious orch-pop labyrinth that unfolds with sudden melodic left turns and zany shifts in dynamics and instrumentation. [Aug 2001, p.94]

Overall, Keane's efforts to move beyond pigeonholing succeed more than they fail. [Jun 2010, p.107]

If 1987-era U2 is your bag, you'll dig it. [Jul 2001, p.74]

Coheed's fourth album simply doesn't deliver on the suspense that's been loaded into it. [Nov 2007, p.155]

Too many tunes struggle to remind listeners of their catchiness. [Aug 2005, p.166]

Musically, it doesn't seem like Chan has gone anywhere. [March 2003, p.88]

Overall, the Beeps still seem like a work in progress. [Nov 2004, p.140]

Contains three best-of-year-brilliant songs. [Mar 2006, p.124]

They weave simple, childlike melodies that slowly grow into full-blown opuses.... A surprisingly innovative album that sees them swimming forward instead of treading water. [#153, p.76]

South are at their most compelling when they apply the aesthetics and methodology of dance music to their epic rock music. [Mar 2002, p.88]

With a handful of vibrant songs that match either a late-night lounge vibe, or elevate their retro-country game, the album's only major flaw is forcing too many drastic costume changes on their angelic voices. [Mar 2010, p.98]

The 10 drone-y songs on Brightblack Morning Light sound more like a soundtrack than a traditional album. [Aug 2006, p.206]

Heart On is on par with the band's previous efforts when it comes to ultra-swarthy innuendos. [Dec 2008, p.146]

Takes a step back to the crossroads of the accessible and the head-scratchable. [Oct 2004, p.148]

They're so busy crafting the perfect pop song... that they've made a uniformly dull album. [Sep 2003, p.102]

The London-based compulsive hair-dyer follows 2007's soulful breakout "The Magic Position" with the luxurious sounds of The Bachelor, the first half of a double album to mixed results. [Sep 2009, p.108]