Delivers the goods in spades. [Nov 2001, p.94]

It's the skillful meshing of Benjamin Gibbard's part-stream-of-consciousness, part-confessional vocals with melancholy piano and achingly melodic guitars that reveal a fleshed-out Cutie are indeed a band of uncommon beauty. [Dec 2001, p.79]

Multicultural rage is all well and good, but when you cop your flow from Vanilla Ice, it undermines your underground cred. [Jan 2002, p.98]

Every unsettling movement is matched by something beautiful. [Jan 2002, p.94]

The abundance of derivative electronic tricks diminishes Beautiful's successful updates of Garbage's sound. [Nov 2001, p.73]

An ambitious record that pays skillful tribute to teachers like Pink Floyd, but shows off its ambition too much. [Nov 2001, p.94]

Gorky's emotional punch is as heavy as it ever was--despite the bells and whistles. [Jan 2002, p.84]

A sweetass blaxploitation-film score in waiting. [Dec 2001, p.87]

While it isn't his best work, Rain on Lens shows that Callahan is proving to be frustratingly hard to pin down, but capable of unleasing brilliance at any given time. [Nov 2001, p.94]

A rare good covers album--creating successful reinterpretations while piquing curiosity for the originals. [Nov 2001, p.74]

They reinvent themselves as house-music auteurs exploring a sound closer to shoegazing's late, great headphone womb than house's aerobic aphorisms. [Nov 2001, p.79]

If you're prone to enjoying the epic recall in rock, All Is Dream will be your momentary ticket outta here. [Oct 2001, p.82]

Folds cracks jokes and spins incredibly sad tales with no restraint or common sense, and oddly enough, we love him for it. [Oct 2001, p.79]

Sadly, one can hear decent tunes struggling to get out of this mess. [Nov 2001, p.78]

They haven't lost any of their quirky cool mojo. [Nov 2001, p.97]

The most powerful, viscerally brutal album the quartet have released to date. [Sep 2001, p.100]

A playful retro-pop event full of shifting moods. [Nov 2001, p.77]

The sample-based backing tracks, hard-hitting but plain, don't have much choice but to play second-best. [Jan 2002, p.74]

The fast parts are faster, the hard parts are harder, and the melodic sections are more memorable. [Oct 2001, p.102]

While the album certainly is a lot of fun, it may turn off fans who have come to expect moody electronica from the Hartnolls. [Oct 2001, p.98]

Should please sophisticated pop connoisseurs. [Nov 2001, p.85]

Scattershot and immediate, with every track sounding as if it came off the top of his head. [Oct 2001, p.99]

The absence of Paul Leary's drug-fried guitar is unconscionable. [Nov 2001, p.78]

A lovely, delicate album marred only by a curious vocal idiosyncrasy... Linkous performs several of these songs in a near whisper... [Oct 2001, p.100]

Includes everything from Brighten The Corners-sounding pop blasts to comforting acoustic gems to dark rockers. [Nov 2001, p.91]

A refreshing journey back to the plugged-in analog sound of early 'Lab albums. [Oct 2001, p.100]

Vespertine isn't immediately accessible, but after repeat listens, a smoldering heart of emotion and a true pop sensibility reveal themselves. [Oct 2001, p.77]

Things reach such a fever pitch on this album that you can't help but laugh at times. [Sep 2001, p.75]