The record's two pieces are fields of rhythm that seem to pull away from your reach like a curtain blowing in a breeze, yet swing back to knock you on your ass. [No. 208, p.57]

Trentemoller's flawless ear for melancholy, melodicism and atmospheric drama gives Fixion the feel of a soundtrack to a gothic/cyberpunk indie film and provides further evidence of its creator's electropop mastery. [No. 135, p.61]

Everybody's A Good Dog is crisp, shimmering and bombastic. [No. 125, p.55]

Molina's delicate vocals glide and dip, leaving Bjork earthbound on the shore and pea-green with envy. [#64, p.102]

The stylistic range is surprisingly broad and definitely campy. [No. 122, p.61]

In Our Heads sees them take their craft to its most dizzying heights yet. [No.89, p.54]

Harcourt holds nothing back, transcends theatrics and reaches the top. [No. 135, p.59]

Like Oskar, Otto luxuriates in tiny, clicking blip-beats with a sense of sythn orchestration. [#68, p.102]

Picks up where [their debut] left off. [#69, p.108]

Everywhere you turn on Photo Album, [Ben] Gibbard is in transit, singing songs of traveling across America while his bandmates slowly perfect the post-punk melodies that snake their way through these crooked pop songs. It's a great pairing. [#52, p.82]

The Icarus Line has created a masterful artistic achievement that can scarcely be listen to. The musical sweep is epic, highly orchestrated. [No. 125, p.57]

Cease To Begin is a fine, fitting return to familiar ground. [Fall 2007, p.91]

The music on Weekends is balanced between bright, up-tempo numbers and cheerless explorations of loneliness and heartache, but even on the dance tunes, the somber lyrics keep things from getting too exuberant.

By keeping it simple, Bowie has avoided the stupid, said more with less and made the clearest record of his career. [#61, p.88]

[A] very rewarding LP. [No. 103, p.61]

Capturing the band at its creative zenith, the three albums on Volume 2--Music To Strip By, Charmed Life and The Band That Would Be King--are hip-shaking, chin-scratching things of beauty rife with bent-grooves and wacked-out, sexed-up story songs that fall somewhere between Jonathan Richman and the Residents. [No. 117, p.53]

With Rounds, Hebden has found the secret meeting place for man and machine; he uses his cunning to exploit it and all of its startling possibilities. [#59, p.94]

Equitable with the Fall's bossiest, most brazen moments. [#70, p.94]

Musically, all the touchstones that made "Passover" so riveting are in place. [Summer 2008, p.96]

The songs on Citizen Of Glass feel more solid and lyrically grounded in the known world. [No. 138, p.59]

Same Language is excellent ersatz Russell. [No. 135, p.53]

Get lost with them. [No. 102, p.54]

As mood music for a particularly rainy series of months, it's a perfectly bummed-out comedown. [No. 138, p.60]

There have been many very good Jon Langford albums; this outlier is one of the best. [No, 147, p.54]

That Vol.1 can capture that energy and enthusiasm of the [excellent] live show, the youthful vigor that prevents it from going into the realm of self-indulgent fogey prog pretty much guarantees we'll be following their career until they're old men. [No.88 p.60]

As she meanders through disappointment and hope, with pedal steel, accordion and strings focusing emotion, Mandell channels Nilsson and Newman to make a lasting impression. [No.89, p.56]

That this LP is less summit than plateau says more about the level of past work than anything lacking from this one. [No.88 p.61]

The tunes sound lustrous but Amos, the singer and writer, sounds richer. [No. 93, p.53]