The obvious touchstones here are Gary Numan, Magazine, and Kraftwerk... [March 2001, p.73]

Sparhawk and Parker's boy/girl vocals, Low's overall light instrumentation, and their minimalist approach to compostition all blend to produce an exquisite lethargy that's as haunting as Damon & Naomi's music. [#153, p.78]

Parts of the result feel overly defensive and overly techno-y, but "Bang! Bang!" will blow your drawers off... [#155, p.85]

Pleasant, if not very gripping... [March 2001, p.70]

In addition to writing stronger songs, the trio seem much more comfortable and focused in the studio. [#153, p.85]

There's not much sonic discovery or eviscerating emotion here to elevate godhead outside the Pro-Tools realm of co-headlining tours with Stabbing Westward. [#151, p.82]

Their strongest and most distinctive effort to date. [#151, p.71]

An exhilarating album... [March 2001, p.88]

They've honed their craft to incorporate increased nuance alongside blunted force. [#153, p.83]

Hiller's sense of humor and eclectic tendencies make this recording a deep listening experience. [March 2001, p.81]

A tour through three decades of sonic recalcitrance, Renegades is the genome map of seditious sound. [#151, p.90]

Building on the same base that made his early material brilliant (a love for both odd sounds and cheesy pop), Warren has painted himself into a musical corner: knowing its hard to get any listener to swallow the same thing repeatedly outside the mainstream market, but also wanting to indulge his muse. [#151, p.78]

Tracks like "Terra Firma" evoke every new-age-groove cliche imaginable, from Gregorian chants to pan flutes to politely understated hip-hop beats. [#152, p.74]

Once the chuckle factor (unavoidable with kitsch) wears off, Pizzicato Five are guilt-free--non-rockist, non-tech-head--perfect 2000-01 listening. [Jan. 2001, p.98]

The Offspring once again demonstrate this knack for incorporating flavor-of-the-month flourishes into their sound in tongue-in-cheek fashion.... These embellishments aside, the Offspring hone in on the dyed-in-the-wool cheetah-paced punk that is their true bread and butter. [Jan 2001, p.81]

Records like this deliver atmosphere and little else, and most of Pelo's 10 tracks make a point of ending two minutes later than they logically should, but still, feel-good artsy pop has never felt bubblier or more confident. [#151, p.72]

Their flows are slower, their observations more profound, and their subject matter drifts further inward. [#154, p.83]

Shimmering guitars haunt tormented tunes, dark gravel growls vie with Thom Yorke-y high notes. Unquestionably, Coldplay could not have existed without an awe-stricken respect for Radiohead's The Bends, but they are also capable of escaping its shadow... [12/2000, p.94]

With a deeper, more mature sound, Halfway sounds like the work of a producer in mid-career crisis making music inspired by the dancefloor, but not shackled to it. [12/2000, p.89]

Not much on Magnetophone's debut really distinguishes them from the legion of bedroom-based nerds playing with the same breakbeats and software as they do. [March 2001, p.83]

Experienced, acclaimed groups rarely make albums as bold and confrontational as Stankonia, because they have too much to lose. OutKast don't care.... The Atlanta duo coalesced the political and societal challenges of hip hop's past into what is one of the genre's most artistically unortodox releases so far. [12/2000, p.108]

As the follow-up to 1997's III, Effector succintly incorporates that disc's pristine sheen and futuristic atmospherics, while moving into more quirky, funk-laden territory. [12/2000, p.94]

High Llamas make the trendy retreat into their parents' soundtrack-filled record collection, and on Buzzle Bee, they use a film editor's aesthetic to cut, splice and dissolve their Pet Sounds-based pop into scenes from the celluloid past. The result is as atmospheric as Air, but not as danceably substantial. [#152, p.81]

More Light... burns with a raw intensity, albeit sandwiched between moments that recall Mascis' acoustic and goofy backwoods major-label work. [Jan 2001, p.94]

On Disco Volante, [David Gedge] sometimes becomes as tedious as a typical pick-up line. [Jan 2001, p.86]

Though nominally house music, Unreasonable Behavior's tracks expend as much energy on engaging the listener's mind as they do on moving the body. [Dec 2000, p.86]

Everlast hints at a hip-hop amalgam of Johnny Cash and Howlin' Wolf, but only when being chased. [Jan 2001, p.88]

Vapor Transmissions is a hymnal for brave new citizens who have adopted The Matrix as a religion while using artifice as deception for their sinister subtexts. [#146, p.81]