If you've been moved by Sparta before... you're going to have the same reaction once the roiling "Guns Of Memorial Park" opens this album. [Jul 2004, p.127]

This is isn't a terrible album, but considering the rest of their vibrant catalog, it just seems a bit stale. [Mar 2012, p.98]

Pathetic. [Jul 2005, p.182]

Has the abrupt, spasmodic intensity of an epileptic seizure. [June 2003, p.94]

It's not that Hey People! is bad, because it's not--but it's not that good, either. [Feb 2006, p.126]

For the target audience, such education lines as "K is for kid fart/L is for long and loud farts" will leave house apes wondering what the fuck they ever saw in "Wheels On The Bus." [Oct 2008, p.153]

Marks a slight improvement from 1999's Bury The Hatchet. [Nov 2001, p.79]

Cheap Girls’ songs blur together--hell, so do their albums--but it’s something to take a deeper look at.

The album's got its share of throwaways, but it's definately an artifact of a band reaching their peak. [Apr 2008, p.160]

There is some filler, particularily within the latter half, which despite the inspired riffage, isn't as memorable as the former. If Fight was a smidge more consistent, it would certainly be receiving a higher rating in this review. [Apr 2009, p.131]

Nauseatingly upbeat. [Oct 2003, p.138]

All Amputechture does is test patience. [Oct 2006, p.200]

For the Malin faithful, these are the seeds from which the glitter in the gutter sprung. [Nov 2008, p.129]

Although we have a hard time following along with this one's theme, we do enjoy the music in spurts. [Jun 2009, p.103]

He and his mercenaries swing cleverly from noodly instruments to introspective acoustic ditties, but never settle down long enough to let their concoction congeal. [Jul 2009, p.127]

Shit rules so hard. [Oct 2009, p.108]

Gay For Johnny Depp succeed because they don't take themselves seriously and they know how to write a crushingly good hardcore song. [Mar 2011, p.93]

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]

It's rare to pull off an album this succint and not invite boredom; it's even rarer if it fucking rocks. [May 2008, p.135]

While he's a better songwriter than a singer, Eitzel definitely knows his way around a tune. [Jun 2002, p.82]

Too often, Kasher is lost in his screamy, overdramatic posturing. [Sep 2005, p.154]

There's nothing about Robert Sledge and Darren Jessee's performance on Life that will make you realize you're listening to Ben Folds Five. Still, a few songs are gems. [Oct 2012, p.84]

The Fratellis may have simply have heightened our expectations by sounding too good too soon. [Aug 2008, p.170]

Grand Romantic is proof-positive more Nate Ruess is always a good thing. [Jul 2015, p.100]

Certain segments remain faithful to the original material while others are unrecognizable through veils of sawing bass, guitar clank, expansive percussion marches and a gang of 50-year-old dudes reliving their adolescence through music and busted guts. [Dec 2014, p.107]

18 makes Play sound like a what-if experiment in techno blues; now Moby sounds like he means it as much as his sampler does. [May 2002, p.77]

While the album has occasional moments of brillance, most of these songs sound like underwhelming sketches instead of finished products. [Oct 2007, p.160]

The album nods to "Things'" lush, layered pop, while adding hefty shoegaze crunch, kicky new-wave synths and diffracted drone.[Dec 2008, p.148]