Blatant Queen rip-off Heaven Knows is fun, but it all goes wrong when she breaks out ballads. [Apr 2014, p.116]

The only top notch effort is the title track--Cash's first composition for years and among the best he's ever written. [Jan 2003, p.114]

Sadly, Better Nature is the sound of a band barricading themselves into their own comfort zones. [Apr 2016, p.115]

Third time around there's some deviation from the formula, but the lack of subtlety is a little wearing. [May 2013, p.95]

In Our Trip and Remember Today, the trio manage to strike the right balance between amp-popping fury and pop finesse--unfortunately everywhere else, they don't. [Jul 2004, p.124]

Prism feels transitional, the work of an artist clever enough to be restless, yet unable to split from a winning formula. [Dec 2013, p.110]

All too often the joy is forgettable. [Feb 2013, p.106]

Heavy, punishing and dense groove metal that never quite manages to be memorable. [Oct 2013, p.102]

Raposa's songs are often just a little too aimless. [Dec 2008, p.126]

Thir second album is suitably heavy on post-adolescent angst but, for all frontman Andy Hull's best efforts, singularly lacking it's own voice. [Jun 2009, p.134]

The quartet's hardcore horror shtick has been homogenised to such an extent that this teen-friendly eigth release could soundtrack the next Twilight movie. [Nov 2009, p.101]

Sound[s] like out-takes from [Daft Punk's] Discovery. [Jun 2005, p.118]

If you're eager for a record that eats its influences raw in order to fuel a whole new world you'd better look elsewhere. [Apr 2015, p.112]

It's by no means awful; it's just as if Nirvana had recorded 12 versions of Territorial Pissings for Nevermind. [Apr 2014, p.105]

Now on their fourth singer, their music is built on lunkheadness, all dumb riffs and blustery choruses. [May 2013, p.99]

The wan disco of Sugar And Bullets and Another Land's sub Depeche Mode pastiche show a fatal lack of creative daring. [Sep 2013, p.106]

Opener Drifting In And Out, a shimmering piece of dream pop, is beautifully realised, but the other nine songs fail to live up to its promise. [Feb. 2012, p. 110]

They've sadly cranked up the wackiness. [Apr 2004, p.108]

His music might be expertly crafted in a bland, jazzy kind of way, but ... it still ends up being mainly about him. [Nov. 2011, p. 149]

While you'd hope there is some post-concert studio enhancement afoot, the result is in effect an overly basic live album of new songs. [Oct 2010, p.120]

For all its chiseled flirtation, what Anything In Return fails to offer is any real emotion. [Feb 2013, p.112]

By the end, it feels as if Tegan And Sara need to sharpen their edge before they lose their point completely. [Mar 2013, p.110]

It takes alt-rock drama and boy-band syrup and bolts on some fun.-size arena-singalong choruses. [May 2013, p.103]

Makes for exhausting listening. [Sep 2006, p.108]

McPhun's chirrupy high-register and a synth-pop gloss, which washes over the album from start to finish, only serves to ramp up the all-consuming mawkish tone. [Feb 2013, p.110]

It sounds exactly the same as the first record... Another solid, unremarkable effort. [Oct 2004, p.116]

It's nothing if not ambitious... [but] they simply don't have the depth, or the authority, to pull it off. [Dec 2004, p.143]

At his best, Jean writes great tunes that don't give a stuff for anyone else's criteria of cool, but amid the overlong skits/underlong songs of Ecleftic, and despite the super-silly brilliance of It Doesn't Matter, the lasting impression is of a talent at sea, cut off from his roots and uncertain of the path ahead.