Korn are ultra-confident, forgoing the blandishments of heavy-rock virtuoso conceptualist Michael Beinhorn, who produced their last album. [Mar 2004, p.121]

Deconstructed sonics phase between absent-minded professor and glitch-craft. [#23, p.101]

A weak echo of those gloriously clean and spacious LPs [of the 70s]. [Dec 2003, p.136]

Marred only by incredibly pompous liner notes and a lack of worthy rarities. [#23, p.122]

Blink-182 have found a new, angrier way to never leave junior high. [Dec 2003, p.135]

This I'm-coming-out record is an unhesitant move from songs of the heart to songs of the groin. [Dec 2003, p.130]

Let It Be... Naked offers an experience its predecessor never could. [Dec 2003, p.154]

50's signature wit is notably absent, so the fate of G-Unit hinges largely on his posse. [Jan 2004, p.104]

This is Jay-Z's suicide note and his glowing eulogy rolled into one. [Jan 2004, p.106]

With this kind of self-pity, Kid Rock was better off staying shallow. [Jan 2004, p.110]

The only thing missing is a killer pop hit to follow "Get the Pary Started." [Nov 2003, p.120]

The five new songs all feature Merritt's meaningfully inexpressive monotone, shrewdly minimal arrangements and flatly clever lyrics. [Jan 2004, p.107]

Dangerous Magical Noise is a great Friday night, and your ears will ring through Sunday. [Nov 2003, p.112]

The bleakness is stirring as often as it is enervating. [#23, p.100]

Jean's histrionic singing and simplistic lyrics can intensify his material... or derail it via self-parody. [Dec 2003, p.138]

It's quite a feat: crushing, weighty themes conveyed via music that floats in a netherworld a few steps off the ground. [Dec 2003, p.144]

With Rock N Roll, Ryan Adams has thrown off the trappings of underachievement and grabbed for the crown. [Dec 2003, p.132]

Pop has made more nuanced albums than this in recent years, but Skull Ring is about reclaiming the franchise as unselfconsciously as is possible. [Oct 2003, p.125]

Consists almost entirely of antagonistic digs at 50, Eminem and Dr Dre, none of which are terribly sharp. [Jan 2004, p.105]

The quartet fills out the album by executing almost eactly the same formula [as the first track] four more times... and the dramatic shock wears off quickly. [Jan 2004, p.103]

It's nicely done, but the relentless cheerfulness grates. [Nov 2003, p.122]

Keith has a gift for wrapping angry thoughts in man-of-the-people plain-speak, with a Lynyrd Skynyrd-meet-Jimmy Buffett friendliness. But underneath, there's often a set of mean cliches. [Dec 2003, p.138]

Wheat adopt a new, far breezier musical style for their first release since 1999. [#23, p.112]

Skimps on warmth and even grit except on a few blood-curdling screams--when, blessedly, you don't have to hear their words. [Nov 2003, p.119]

The fine distinction between cool and blase, aloof and distant, seems to have eluded them. [Nov 2003, p.106]

There are some surprising misfires here... but also some unexpected treats. [Dec 2003, p.147]

It's great fun, but Come Feel Me Tremble has more ballast. [Nov 2003, p.123]

Their most violently inventive album yet. [Nov 2003, p.109]