Often the beats are so clumpy that the vocals are left trying to drag things forward. [Nov 2018, p.109]

But even knowing that [it's inspired by a Sam Shepard play], it's impossible to tell what's going on. [June 2008, p.149]

Back To Basics' pub-rock charm wears thin pretty quickly. [Aug 2015, p.115]

Her music is much the same as on her 1999 debut "Black Diamond," dulled by a surplus of smooth, bass-heavy slow jams. [Dec 2007, p.124]

Abrasive textures win out over melody, and the odd flashes of In rainbows-era Radiohead only serve to underline the inaccessibility of the rest of the material. [Apr 2018, p.115]

Worthy, but hard work. [Aug 2015, p.115]

It delivers patches of sheer brilliance, but the overwhelming urge is to ask them to cut to the chase. [Dec 2012, p.109]

The inimitable genius of B.I.G.--the mordant wit, the complex lyricism--is painfully diluted here. [Jul 2017, p.107]

Reductive re-workings of his heroes only remind you of his limitations. Lacking a pop compass, Stone just sounds lost. [Aug 2012, p.111]

Long Wave seems like great fun for Jeff Lynne, less so for the rest of us. [Dec 2012, p.111]

There are some crisp pop tunes--Next To Nothing; So Easy, So Cool--but the country-tinged folk of Convince Us and Say Goodbye reek of "will this do?" [Nov 2003, p.124]

When they strain for sexy modernity... it's as appealing as Mr. Burns writhing round in satin sheets. [Nov 2004, p.119]

The general rule with Offspring albums is that their buoyant Californian punk will always be pockmarked by two wildly irritating songs. So it is with Days Go By.

This Kind Of Love is unlikely to rekindle fresh interest. [July 2008, p.111]

Aside from the relatively oomph-laden, piano-driven 'Sharing A Gibson Withh Martin Luther King Jr.' and a lonesome cover of Don Williams's 'I Believe In You,' there's barely a melody to savour. [Nov 2008, p.118]

When Allien adds a taste of techno's rhythmic grunt, some focus is briefly achieved, but unfortunately it happens all too briefly. [Apr 2013, p.94]

Sadly, it plonks them squarely in the polished but unremarkable heartland of inoffensive US shopping mall metal. [Jun 2013, p.99]

Nashville at its most belligerently formulaic. [Nov 2002, p.105]

Has only occasional flashes of inspiration. [Jan 2002, p.107]

Entertaining in the same way as an episode of Joey: pretty dumb, fairly funny, and you're glad it's over in under half an hour. [Feb 2006, p.100]

Strip away the Victorian undertaker drag, and Strange House is disappointingly insubstantial. [Apr 2007, p.116]

Too much of the rest comes dangerously close to ordinariness. [Mar 2017, p.115]

Only the stripped-down electro of 'Here Comes My DJ' shows anything like his old form. [Apr 2009, p.105]

Although RZA tries crisply updating his trademark murk for the new rap age, the results rarely cohere. [Jan 2002, p.108]

It's all terribly cute and jaunty, with twee melodies and playground lyrics to the fore. [May 2009, p.107]

A lot of the songs are too eager to please... when they stop trying too hard - like on the woozy, out of phase Holes - they create something far odder and infinitely more interesting. [May 2012, p.96]

There is talent here. If only it could've been matched to a few more original ideas. [Aug 2012, p.105]

Too often, these songs feel as though they're being executed with an arched eyebrow, Lewis Jr. peering knowingly from behind the curtain with a nod and a wink. [Aug 2012, p.110]