While their music does have a Scando smoothness to it, its ramshackle moments recall the Beta Band more than they do Sondre Lerche, The Cardigans, et al. [Sep 2006, p.100]

A blast from start to finish. [Aug 2006, p.102]

It's too mixed a bag of highlights and lowlights to be lovable. [Feb 2007, p.100]

The majority of Not Too Late hums with a placid darkness and neurosis which is as delicious as it is unexpected. [Feb 2007, p.104]

A sweaty, dirty cellarful of noise. [Feb 2007, p.102]

Visitations may just be their finest half-hour. [Dec 2006, p.108]

The overall effect is a bit off-key, ill-defined and generally incomprehensible yet warm and attractive. [Mar 2007, p.100]

Neither the return of the Last Gang In Town, nor the crisp, literate, wonderfully confident pop with which Albarn perfectly crystallised the mid-1990s. Instead, The Good, The Bad & The Queen is a noir-ishly understated suite of songs, further testament to its chief author's need to keep on moving. [Jan 2007, p.98]

There are twists, but no clutter, just a gentle lyricism leaving every song lit from the inside. [Feb 2007, p.100]

His gifts remain undiminished. [Mar 2007, p.99]

Stereolab had similar starting blocks--there's no reason why Fujiya & Miyagi shouldn't become as notable. [Jan 2007, p.110]

There's just one heart-grabbing moment. [May 2007, p.120]

Ghost are soundtracking a fresh, modern hell. [Mar 2007, p.99]

You kind of know what to expect from a Kristin Hersh solo album, and that's not necessarily a bad thing. [Mar 2007, p.102]

Imagine a math-rock XTC fronted by Elliott Smith, illuminating the quiet corners of life. [Mar 2007, p.94]

It is Nas's poetic erudition that makes it a stone cold classic. [Mar 2007, p.100]

Bizarre, but brilliant. [Mar 2007, p.100]

The stark beats are the best Hugo and Williams have built in years. But its themes--dealing, girls--require more lyrical innovation to compel. [Feb 2007, p.105]

Stimulating, entertaining and moving. You'll listen to it more than you have Anthology, I promise. [Dec 2006, p.100]

Astounding... More even than his Exile On Main St., this is Tom Waits' Basement Tapes. [Dec 2006, p.104]

This is largely a quality-controlled treat. [Jan 2007, p.112]

It was a scratchy and sassy sound, funky and fun.

It is Newsom's voice that provides the stunning balm to bind this strange beauty together. [Dec 2006, p.118]

So Divided is less pompous, but the dynamic likes of Naked Sun and Stand In Silence barely atone for hamfisted stabs at chamber pop, country and The Cure. [Dec 2006, p.108]

This record easily beats its predecessor. [Feb 2007, p.105]

Songs that any liberal-minded Cat Stevens fan will adore. [Dec 2006, p.120]

Rice doesn't dismiss outright the folky troubadour charm that distinguished O, but here it's a springboard for jealousy, sex, misery. [Dec 2006, p.104]

The whole album is characterised by a subtle, all-pervading sense of menace that superbly offsets Campbell's snow-pure vocals and sparsely psychedelic orchestration. [Dec 2006, p.104]