There's nothing surprising or too far outside their comfort zone.

Tracks like "Terra Firma" evoke every new-age-groove cliche imaginable, from Gregorian chants to pan flutes to politely understated hip-hop beats. [#152, p.74]

Considering how much it costs to get Rick Rubin in the producer's chair, it's no surprise Gogol Bordello aim for something beyond full-throttle drunken mayhem on Trans-Continental Hustle. Those worried the party is officially over can rest easy, as "Break The Spell" and "We Comin' Rougher (Immigraniada)" show Gogol Bordello haven't completely forsaken four-on-the-floor folk punk. [June 2010, p.105]

Although a less consistent effort as a whole, Time Bomb is a lot more fun than its predecessor and suggests capacity for songcraft not evident on the band's debut. [#154, p.66]

The collection as a whole has a transitional feel, as though Jamie T is still finding his way between the two poles of his primary inspiration. Yet with his propensity for both engaging storytelling and hooks, he's too talented not to figure it all out in spectacular fashion.

At times, the disc trades solid shoegazing for a slip into blase modern rock, with songs that beg for broadcast next to STP and Third Eye Blind; ultimately, however, Gwenmars' recasting of the dark British sounds that lent depth to sunny American movies is intense and compelling. [#153, p.75]

Unfortunately, as with many Verve albums, Bar's dreamy tempos and strung-out riffs, while fragile and beautiful, start to fade into a middling mess of sameness around the middle of the disc. [March 2003, p.98]

Avenged Sevenfold is so all over the map musically and lyrically, it's difficult to decipher whether it's pure genius or the most convoluted mess of music you'll hear all year. [Dec 2007, p.178]

Between the bloated song lengths and repetitive arrangements, What Angels & Airwaves really need for LP3 is an editor. [Dec 2007, p.184]

The music, more polished and synthetic than ever, is fine.... But too much of this album comes off like self-parody. [Oct 2013, p.92]

Misguided in points, Contra shows a more accomplished and daring Vampire Weekend--albeit a less endearing one. [Feb 2010, p.97]

While the positive vibe is admirable, there's just not much substantial to grab on to--and few songs linger after the album's over.

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

After blowing out of the gate with the blondie-tinted delight 'Ecstatic Appeal,' Pearl ends up coasting on fumes. [Nov 2009, p.114]

Temper Temper probably sounds great played in an arena. But on the stereo, it just isn't enough. [Mar 2013, p.90]

On Sunshine and a handful of others, she's M.I.A. protege in Kala mode; elsewhere, she's been "optimized" for a climate more partial to Nicki Minaj. [Jun 2012, p.84]

Jaill's pacing and musical phrasing feels noticeably lethargic. [Jul 2012, p.94]

Had these songs been released a decade ago, they'd be a sensation. Today? Nah. [Jun 2014, p.105]

The baby-making music never reaches above its already-set guidelines to become something truly special, preferring to explore already charted (and re-charted) territory. [Apr 2007, p.180]

The Most Serene Republic play it incredibly safe while maintaining thier baroque-rock rep. [Aug 2009, p.111]

The absence of Paul Leary's drug-fried guitar is unconscionable. [Nov 2001, p.78]

Telepathe should be appauled for making a challenging record; though it frequently doesn't hit the mark, there's plenty for fans of minimalism to get excited about. [Mar 2009, p.116]

The high points find the Men melding their overmodulated past with their new melodic obsessions. The low points render the band mere pretenders to outfits like Guided By Voices and Spoon. [Apr 2013, p.90]

While electronic music fans are not always a lyrics-first bunch, the sentiments here will probably sound better shouted at Glastonbury or Coachella than examined via earbuds.

Multicultural rage is all well and good, but when you cop your flow from Vanilla Ice, it undermines your underground cred. [Jan 2002, p.98]

There's always been a heavier influence in the band's music, but on Arrows & Anchors, their ambitious desires to step outside the genre box often get bogged down in a sea of down-tuned guitar and maudlin lyrics.

There’s passion cooked into each Antemasque song, but it is curiously unmoving.

Everyone involved seems to simply be shrugging along in an almost cynical fashion, figuring people will buy it no matter what they do.