It's disappointing to find a glut of songs seemingly calibrated to appease the demographics. [Jan 2005, p.126]

This is a patterned Wellington boot of a record, more suited to looking boho at a festival then actually having a splash around in the swamp of the human soul. [Aug 2013, p.104]

Mostly, he has little to say. [Mar 2011, p.109]

The thing that's missing from Detour, though, is emotion. [Jul 2016, p.110]

It almost inevitably fails to live up to those lofty aspirations. [Nov 2009, p.114]

Speed Of Darkness dishes up more of the same. [July 2011, p. 120]

It's originality that's lacking. [Jun 2004, p.105]

Even Faith's super-powerful voice never elevates the material above the decidedly everyday. [Jul 2012, p.100]

Sadly this spirit of renewal doesn't translate to the music. [Sep 2010, p.114]

The highlights are outweighed by tracks such as Glitter Gold Year, a half-formed sketch of jabbing bass and meandering riffs. [Jan. 2012 p. 120]

As super cutesy as a Hello Kitty hair-grip. Best avoided, in other words. [Mar 2011, p.101]

What comes across is a band still in love with music, not necessarily their own. [Jun 2012, p.99]

The elusive magic of their initial work seems further away than ever. [Oct 2014, p.108]

The Balcony is a debut as polite as potpourri. [Oct 2014, p.106]

Aside from the Flying Lotus-produced curio tucked away at the end, there's little sign here he's willing to attempt a new role. [Jul 2011, p.111]

Another marathon slog through the alt-country undergrowth. [Jun 2005, p.118]

A muffled production makes it difficult to glean exactly what he's so cross about, but for all its catharsis, the furious intensity and bangarang clutter mask the absence of real tunes. [Dec 2016, p.110]

His once winning formula now sounds wanly formulaic. [Feb 2016, p.112]

Everything comes dripping in portent and seems too in love with its own seriousness to excite any emotions. [Mar 2003, p.106]

Tom Vek's charm has lost its spark. [July 2011, p. 121]

Sounds derivative and over-produced. [Sep 2004, p.123]

Dominated by common-or-garden blues workouts, with few of the startling dynamics that marked his former band's finest work. [Sep 2002, p.100]

After a promising start too much else glides by as a wash of warm, organic--yet unremarkable--background music. A Shame. [May 2011, p.116]

The pleasure rapidly dissipates over 17 formulaic numbers, some of which come with an accordion. [May 2004, p.98]

Unfortunately, Iha's anemic vocals are as terminally starry-eyed as ever. [Dec 2012, p.107]

It's at its best on Drive, where throbbing bass and a giant chorus dominate, but then Peace slides--albeit stylishly--into a repetitive blur. [Oct 2013, p.102]

Accomplished but pointless. [Jan 2016, p.115]

Its meticulously layered creations are hampered by both a pervasive aura of high seriousness and general lack of sonic variation. [Mar 2015, p.110]