These oddballs have chops aplenty, and the balancing act they pull off on Quebec is no joke. [Sep 2003, p.132]

It’s an immersive, art-school-bred aesthetic that, three or four times on the band’s debut album, makes for some very good music, too.

This is a credible update on the classic Killing Joke sound. [Oct 2003, p.118]

Many of the songs here could be Peppers tracks, except for the absence of Anthony Kiedis's vocals. [Apr 2004, p.128]

The best ’80s-revival funk made by white Canadian hip-hop kids since, like, ever.

If she lacks [Fiona] Apple's emotional complexity, her lovely and original debut finds the romance in despair. [Jun/Jul 2004, p.149]

The unhurried, full-retail rock arrangements are splashed with lite-R&B syncopations and snazzy-jazz harmonies. [Apr 2006, p.111]

Whether he’s lamenting immigration hassles or imagining himself a depressed American kid fighting in Iraq, this Muslim fan of Biggie and Bruce Lee has a common touch. He’s a universal soldier, not an exotic novelty.

They've adopted a crisp, unfussy style that assures the audibility of Darnielle's artful words. [Mar 2004, p.124]

Their weaponry is wrought from comedy gold.

Intermittently great. [May 2005, p.117]

Fans of the TV show will have heard versions of almost all these songs before. The problem is, they've also seen these songs before.

A gorgeous, streamlined piece of acoustic Americana, beautiful and fully realized. [May 2003, p.120]

It's at once a distillation of all that drew tweeners to Dashboard... and a messy, multidimensional celebration of romance and regret. [Jul 2006, p.99]

These bluesy spirituals are so raw they bleed. [Mar 2005, p.136]

Most of the album is more fun than a folkie could stand. [Jun 2006, p.147]

The Pretenders’ ninth studio album is a pleasant roots record.

Though lighter on star power than its predecessor, this compilation... still packs weird extraterrestrial punch. [Apr 2006, p.118]

This is beautiful, baffling late-night music for shy boys and robots. [Aug 2006, p.108]

Kweli’s rigid delivery and obsession with self-empowerment remain liabilities.

Since avant-punk often has more “limits” than its creators recognize, respect and then some to No Age for keeping theirs interesting.

A raw, passionate record. [#14, p.135]

They are still greasy rock & rollers who know how to keep a party going. [Oct 2004, p.120]

A gentle, reflective and often gorgeous album. [Nov 2005, p.132]

While their protest cries tilt feebly into goofball psychedelic funk, a lush poignancy bubbles up on the more ruminative tracks. [May 2006, p.110]

Flaunts their va-va-voom and their depth. [Aug 2004, p.139]

What's most frustrating about them is precisely what's most appealing: Their refusal to write traditional songs, coupled with their giggling nature-child personas, adds an air of mystery and makes for some beautifully offbeat melodies. [Nov 2005, p.131]