" The staff of PopMatters called Adios a " superb mix of the anarchaic fueled fury of the 80 ’ s and a full awareness of what their genre has become.

Critics praised Townsend's inventiveness and the dynamism of the songs in which " melody and discord meet midway "; Adrien Begrand of PopMatters wrote that " Strapping Young Lad have raised the bar yet again ", while Blabbermouth. net's Krista G. called it one of the best albums of the year.

Adrian Begrand of PopMatters wrote " Nobody in metal today has the same kind of commanding stage presence as the self-professed Bald Bastard, Devin Townsend ", and called Strapping Young Lad " one of the best live bands around ".

Nikki Tranter of pop-music website PopMatters called the album mature, praising everything from the cover art to the " finely crafted pop melodies ".

Strega of Television Without Pity, also praised the character's psychology, " The thing I like most is that they've not only created a teenager who doesn't just feel like he's the most alienated person in the world -- he actually is ," and " I love how unloved Connor he is …” Jean Lorrah described the Darla-Angel-Connor-Jasmine arc as " surely one of the most ambitious story arcs any television show has ever attempted “ Stacey Abbott of PopMatters called the Darla-Angel-Connor storyline " provocative " and " pure family melodrama ".

" Rolling Stone called it " a landmark of jangly, guitar-driven avant-pop, and its shimmersing sound can still be heard in bands like R. E. M .." PopMatters wrote that the album " stands as a wildly inventive and influential record that stands shoulder to shoulder with some of the best music of the American post-punk era.

Nicholas Taylor of PopMatters called " Don't Phunk With My Heart " a " standout " in regard to " complex and engaging hip-hop music, a mix of rap, soul, jazz, and funk that will constantly surprise and delight.

In a review for Carey's Greatest Hits in December 2001, Devon Powers from PopMatters called the song's lyrics " power through prayer " and described some of its vocals as having " churchy overtones ".

" Marc L. Hill of PopMatters called The Lost Tapes " a necessary addition to the collection of any hip-hop fan " and found it to be " masterfully arranged ", writing that it " maintains a cohesiveness that almost makes you forget that you are not listening to a studio album.

" Evan Sawdey of PopMatters called it a " lightly dorky " song, and Stephen Thomas Erlewine of Allmusic deemed it as a " fluffy dance-pop at its best.

The performance on the Post Tour was called " explosive " by Adrien Begrand of PopMatters and was released on Live Box, in the Post Live CD, with the same performance being released on Björk's video Live at Shepherds Bush Empire.

Christian John Wikane from PopMatters called the song a propulsive track .< ref name =" popconfessionstour "> Alan Braidwood of the BBC, noted of the track: " full-on dance, dark, disco, fun, big " and compared it to other Madonna songs like " Vogue ", " Deeper and Deeper " and " Ray of Light ".

Being There called it " nothing more than a generic ballad with little merit ", and PopMatters said that it was a " one-too-many Thile tune about screwed-up relationships ".

" Dave Heaton of PopMatters says " the trio have a snappy sound and memorable hooks, but don't go quite far enough in either direction to make up for the fact that their lyrics are remarkably wishy-washy.

Adrien Begrand of PopMatters dismissed the original recording, but praised the re-release, writing " the album blazes on at a furious pace, and being a 1985 metal album, the subject matter, though now a bit dated, is such a refreshing change from the suburban angst that dominates today's nu-metal.

Enio Chiola of PopMatters. com listed " Who's That Girl " as one of the top-fifteen singles of Madonna's career, stating that it is an " insta-party from the moment in begins.

According to PopMatters ' Andrew Welsh, Drizzt is Salvatore's attempt to create a multifaceted character who faces internal struggles, in hopes of standing out from the drow, and fantasy fiction in general.

" A number of reviewers made some comparisons to the members previous bands with PopMatters reviewer David Powell stating that " Contraband is a pretty good record of unpretentious rock and roll that suffers from inevitable comparison with the best efforts of its parent bands.

PopMatters reviewer Adam Williams wrote, " For my money, Kick out the Jams is one of the greatest records ever pressed.

Cynthia Fuchs from PopMatters wrote that the song " is another near miss, with admirable attitude but, well, laughable lyrics: " Tell me love isn ’ t true, it ’ s that something that we do " or better, " Tell the bed not to make " ( hmmm ).

Stacey Abbott of PopMatters cited David Greenwalt's statement that " Angel is about how hard it is to be a man.

While reviewing the DVD, Brian James of PopMatters wrote that "' Tis the Fifteenth Season " is " hardly a masterpiece, but it does feature a talking astrolabe and the phrase ' double-bacon genius-burger ,' two elements that deserve a spot in Simpson Valhalla.

The packaging was praised by PopMatters, insisting that the box set is " very nicely packaged, in a swanky fold-out digipak with a clear plastic slipcase.

Rahul Gairola of PopMatters wrote that while " the pilot lays the usual groundwork by showing how the characters ' lives are intertwined, it also demonstrates immediately the sitcom's major drawback, that the stereotypical gay character is the stand-out comic figure.

" PopMatters felt that the song " comes close to sounding too safe, almost like the band is on autopilot.

" Brian Houston of PopMatters wrote that " Songs for Dustmites is a successful album, but the caveat will always be that the reason for the success lies with the Lips contributions and not with Burns ’ s talent or vision.

Willa Paskin of PopMatters wrote Lorelai is " perhaps the most fully developed female character on television.

Jason Damas from PopMatters was mixed on the song, calling the opening " awkward " and the refrain " ridiculously dumb ", but arguing that the song " is so frivolous and stupid that it winds up being brilliant ; it pretends to be nothing more than party bubblegum and achieves its artistic criteria beautifully.

PopMatters is an international online magazine of cultural criticism that covers many aspects of popular culture.

In a review of the episodes featured on The Simpsons Gone Wild, PopMatters critic Stephen Haag wrote that " none of these episodes will end up in the Simpsons Hall of Fame ", and that " The Mansion Family " is " hardly a classic episode, but Lord knows there are plenty worse from season 11 ( paging ' Bart to the Future ').

Ilker Yücel of ReGen Magazine gave a positive review, while Richard T. Williams of PopMatters panned the release, saying, " The sound of today's KMFDM isn't only devoid of the danceability that once defined it, it is helplessly, aimlessly generic.

Steve Horowitz of PopMatters noted that it " does have a few duds " and found some of the " offensive lyrics " as flaws, but wrote that " While not every cut is a winner, Elliott does a fairly consistent job of gaining the listener's attention through her outrageous lyrics and performance style ".

PopMatters gave the album a positive review, but he was disappointed by the record label, and the public, for not releasing the single in the United States, commenting "“ On a Night Like This ”, a track that is meant to go right to number one on the Billboard Club Tracks list and while being completely ignored by the general public.

Reviewing the first three issues of the series, William Gatevackes of PopMatters said that " Lee's art is beautiful cannot make up for the writing or the holes in the storytelling.

" According to PopMatters, they explained the music video saying " While Madonna is one of MTV's darlings, she's still a woman, and the idea of a woman taking her aggressions out on men is something the network can just not have.

" Ewan Sawdey of PopMatters compared " Don't Let Me Stop You " ( 2009 ) with " Behind These Hazel Eyes " saying that the former " may sound like another rewrite of an older Clarkson hit ( in this case, " Behind These Hazel Eyes "), but the observational lyrics about a questionable relationship are what ultimately makes the whole thing click.

" Jozen Cummings from PopMatters gave the album seven out of ten stars, claiming it to be Carey's redemption from the manacles of her previous two releases.

" Bill Gibron of PopMatters also thought the episode was funny, commenting that it " explored the often-cited ' slippery slope ' of allowing matrimony to be defined outside the parameters of a man and a woman — with hilarious results.

Hunter Felt from PopMatters gave it a positive review, stating " something about Kylie ’ s innocent yet forceful vocals and the sheer catchiness of the song itself [...] So the song became a beloved secret, and I never bothered to try to tune my friends in on “ I Could Be So Lucky ”, or, crazier yet, proclaim that this “ has-been ” would be a critical and commercial darling in a few years time.

PopMatters said that the album was " hardly the stuff of mountain music ", and Village Voice described it to be " much sleeker, sexier, and more carefully assembled than work by the competition.

" Mike Schiller from PopMatters commented that the song " is more jazzy and funky than a Jennifer Lopez song has any right to be.