Although RTR are more than copyists, they cleave to a proven hybrid of speed metal, grungecore and emo. [Oct 2011, p.86]

In a world of fast thrills, WAS remain admirably opaque. [Apr 2008, p.109]

What's here feels a bit decaffeinated, downbeat Moby-ish electronica over which Lynch speaks or sings in a shaky blues croon. [Sep 2013, p.91]

For the most part this is classic fuzzy heavy rock, bordering on self-parody but all done in good spirit. [Nov 2009, p.96]

It's a subtly affecting record, hushed, austere, grasping for simple peace of mind with gorgeously rendered standards. [Feb 2011, p.93]

Jones' considerable composing,guitar and vocal strengths are marshalled effectively. [Apr 2013, p.78]

Too much here feels diaphanous and directionless. [Review of the Year 2025, p.29]

It’s too blunt, messy and reverent to be up there with their best, but you hope that it also serves a secondary function: to clear the decks for one last magnificent tilt at rock deification on album number ten.

A spirited response to their detractors. [Nov 2005, p.106]

Sparhawk builds on the melodic sensitivity that frontman Dave Simonett revealed on his Razor Pony EP. [Sep 2014, p.79]

For The Stars, The Oceans & The Moon, the original scally mystic has orchestrated a selection of old songs with a missionary zeal. [Nov 2018, p.27]

Basic, sludge-grey power pop that makes Weezer sound as kaleidoscopic as The Flaming Lips. [Nov 2002, p.128]

Electro-guru Jim Abbiss... can't salvage much from the band's often tedious three-chord bustlings or Molko's lamely repetitious lyrics. [May 2003, p.90]

The problem... is that size seems to be used as an excuse for the lack of musical ideas. [Nov 2006, p.102]

It must be said, [Rip This] lost some of the garage band magic that made [the debut] so memorable. [Dec 2014, p.71]

Liars' aim is to challenge the listener with their gruelling strangeness. [Apr 2004, p.101]

The lack of urgency makes it feel like we're eavesdropping on a well-heeled Britpop Survivors Group rather than the site of fresh rock'n'roll alchemy. [Jun 2005, p.98]

His long awaited debut sees him adding endless waves of muzzy kosmische, softly burred guitar loops, Fripp-like trippiness and heavy psych/space-rock grooves to his arsenal. [Mar 2011, p.83]

The absence of Kim Deal--who left in 2013--continues to be felt: her natural warmth and goofy charm would add welcome nuance here. [Oct 2016, p.37]

While the programmed beats are generic, his fleet-fingered guitar work shimmers with the high-end wit that powers a batch of hooky, sharply drawn tunes. [Oct 2015, p.75]

The album is less of an indignant affair than you might expect. [Sep 2006, p.84]

It's a rather bloodless and oddly dated set. [Aug 2015, p.76]

Preparations smudges the distinction between Herren's Prefuse 73 and Savath & Savalas aliases, and shares with Golden Pollen, his summer S&S release, a listless drift. [Dec 2007, p.101]

It's ambitious, triumphantly executed stuff--melodically, lyrically, Tim Oxley-Rice is a vastly superior songsmith to Chris Martin--and will doubtless shortly be inescapable. But you can't shake the dispiriting feeling it might have all been expressly commissioned by Dave Cameron for the opening night of London 2012.

Their first album doesn't quite match the hype, but is still an appealing piece of go-ahead indie-[pop, with a certain charismatic bagginess and wit that points to a bright future. [Apr 2009, p.91]

With Lisa Milberg sounding like a cross between Nico, Bjork and Yoko Ono, WYWH is one deep, dark, sexy reinvention. [Dec 2010, p.87]

Starting with irresistible lead single 'Pork and Beans', a chunk of Weezer’s sixth album delivers the band’s trademark combo of crushing power chords, pop-culture references and a healthy dose of ironic self-ridicule.

The gravel voice and self-penned songs are distinctive, and though he's not beyond over-emoting, this stakes claim on a wide territory in a bold manner. [Jul 2009, p.95]