A set track list and a few new tunes....[creates] a more well-rounded picture of the band than last year's smorgasbord. [Apr 2012, p.92]

The record succeeds as its own body of work sans premise, thanks to Valdés' deft keyboards and arrangements (which gives the proceedings hues of '50s hits, '60s soul and breezy Euro-pop) and Argos' patented sincere-or-smarmy delivery (the thing that makes Art Brut so compelling).

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

It's uncomplicated, catchy fun, the equivalent of 21st-century hair metal-and that's meant as a compliment.

Dusk And Summer is proof that Carrabba's ability to drop hugely emotive choruses into three-minute pop songs has become its own form of classic American songwriting. [Aug 2006, p.199]

It's probably the most honest collection yet. [Oct 2011, p.109]

An admirable effort, yet this feels like Gang Of Four taking six steps backwards into obscurity. [Mar 2015, p.93]

The wicked dueling guitars of Dan Jacobs and Travis Miguel are about the only saving grace, but even the wildest arpeggio run can't save Congregation from near-total damnation. [Dec 2009, p.116]

Despite being almost numbingly consistent at times, it's his most self-indulgent Catholics album, and it could easily become a favorite of Black's long-time fans. [Oct 2002, p.77]

Granted, the Offspring have always dabbled in lyrical goofiness, but on Splinter, this approach seeps into the music as well. [Jan 2004, p.93]

Arguably their best effort since jumping to the majors... Golden Lies hums with chunky metal chords, suspicious scents of Beatlesque psychedelia and wah-pedal freakiness. [12/2000, p.102]

While longtime fans might chide the group for losing some of their quirkiness and streamlining their sound, the band's desire to push the boundaries should be commended. [Mar 2012, p.91]

A bit flat. [Jan 2007, p.131]

What could have been a second coming of Stone Roses or even a newer New Order comes off like one big Spiritualized remix, light on the hooks, numbed by its own beats. [Apr 2002, p.82]

Wrap Cracknell's voice around a sweet, soulful confection and she remains the embodiment of all modern pop dreams and desires. [Dec 2000, p.94]

In the end, this dark, penetrating album is a transitional record and should be viewed as such. [Dec 2007, p.172]

The mood, talent, and energy are present, but the lack of lyrics is off-putting and relegates the band's seventh proper LP to B-team status. [Feb 2009, p.103]

Underneath The Owl is unquestionably the best album of the Gamblers' career thus far. [Apr 2009, p.132]

An ambitious effort with story-shape influenced by the band's history while moving forward with increased sophistication and nuance. [Jun 2016, p.102]

That's why artists like RJD2 are important: They're brave, they're risk takers, and modern music needs more of them. [Apr 2007, p.192]

Despite plenty of subtle charm and wistfulness, the band's implicit pursuit of warmth occasionally veers off course to flirt with surprising sterility. [Feb 2007, p.115]

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

Their most accomplished and least anxious record yet. [Nov 2006, p.182]

The Green Album is a sweet and largely sincere recasting of songs from The Muppet Show and several of its cinematic spinoffs.

The Postelles flash moments of this talent, but often come off as a pedestrian version of a banal sound.

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.

Most of Maritime's debut feels incredibly boxed in. [Aug 2004, p.106]

A novel idea that falls flat due to poor execution. [Dec 2004, p.162]