Overdrive showcases barer instrumentations and peeled-back song structures. [#110, p.59]

For all the inventive whimsy of the arrangements, however, there’s no mistaking the slight lyrical content.

Great production flourishes dominate, with horns and steady percussion rising out of the mix to provide the listener with an enveloping atmosphere. [No.87, p.53]

It's far, far better than anyone ever had a right to expect. [No. 117, p.53]

It's a dark, repetitive, uncompromising record, full of challenges and threats. [No. 97, p.51]

Life On A String also reveals the tedious aspects of Anderson's muse. [#51, p.82]

As a 33-track double album, With Love has space for a small village's worth of memory lanes. [No. 100, p.61]

On a very small and exclusive CD rack, you'd file I snugly between the recent albums by Air and Cornelius. [#53, p.72]

Cydonia is a welcome return to the sensual, dubby, progressive trance that marked its best early work... [#50, p.102]

Full of ideas as well as joyful energy. [#68, p.86]

As If To Nothing occasionally lapses into moments that more closely resemble a compilation tape than a cohesive body of music. [#54, p.76]

The inanely literalistic Looping State of Mind magnifies that trend [toward expansionism], offering seven mutations of his trademark sound, in a newly expansive array of tempos. [#82, p. 55]

Love If Possible is a delightful confection, and Sakamoto keeps it just the right amount of sweet. [No. 159, p.59]

Completists will be sated - as they invariably are - by this fun, beat-happy collection. As for the less fanatical fans, caveat emptor: This is a return to the primitive.[No. 85, p.60]

A pleasant if vaguely unsatisfying collection of songs. [#61, p.106]

Naked and nearly innocent, the raw talent of Buckley is finally revealed. [No. 137, p.53]

The sound is more polished than the old bedroom-pop days, but four albums in, it is getting a little same-y. [No.87, p.52]

Sounds like lovelorn, half-baked philosophy for the Mariah Carey set.... Lucky for Justine Frischmann and her reconstituted Elastica, rock 'n' roll doesn't require lyrical profundity, just great beats, riffs, and attitude. All are here in spades... [#47, p.90]

Like the most effective camp, the line between what's intentionally and accidentally embarrassing is utterly ambiguous. [#58, p.82]

Angergard vivid production is the perfect foil for Komstedt's warmly detached vocals, and fans of Saint Etienne, Beach House and Blondie's "Heart Of Class" should take notice. [No.99, p.53]

Perhaps both the best and worst you can say about Revolution Radio is that it sounds exactly like Green Day. [No. 137, p.55]

Enjoying Furr, then, depends entirely on your ability (or willingness) to ignore the heavy footprints of familiar musicians.

White Hills [cuts to the chase;] the tempos are quicker, hooks more insistent. [No. 85, p.60]

A surprisingly deep album that fleshes out the vaguely krautish electronica the band only touched on in previous efforts. [No.88 p.59]

Hefner is new at this, so things get clumsy. But it's endearing, because [Darren] Hayman's melodies and the idiosyncratic worldview he espouses are still irresistible. [#53, p.79]

The results [of the combination of DJ culture and blues] sound less contrived on this outing [than on 1998's Come On In]. [#48, p.81]

A degree of delicacy colors album number eight. [No. 125, p.55]

A skilled lyricist and a great, emotive voice. [No.86, p.55]