Nick Lowe has made the album of his career, a dozen stories of love and loss so beautifully simple that you'll never get to the bottom of them. [Nov 2001, p.12]

Uplifting, exuberant gloom. Tremendous. [Oct 2001, p.108]

A quirkier affair than their previous works.

Alluringly odd. [Mar 2002, p.112]

This time Linkous lets his gift for fractured folk song to resonate without encumbrance from freaky noise slugs. The results are sensational. [Jul 2001, p.98]

An album of joyful, desperate and messy songs, as honest and delicious as any on Pavement's 1992 classic, Slanted And Enchanted. [Sep 2001, p.92]

Tim Gane and Laetitia Sadier's prettiest songs since '95's Music For The Amorphous Body Study Center. [Oct 2001, p.116]

A wealth of gorgeous melodies and hallucinogenic kitchen-sink orchestrations. [Dec 2001, p.98]

A gorgeous reverie. [Sep 2001, p.99]

More judicious editing might have rendered this a classic return to form, but there are still enough high spots to keep nostalgic fans happy. [Sep 2001, p.92]

Countless moments of sheer melodic magic. [Dec 2001, p.116]

The perfect album for cool, sequestered evenings in scary cities. [Sep 2001, p.102]

In many ways, My Love is an excessive, ludicrous - no, make that brazen, unapologetic - record; vital because it wasn't born out of a painfully self-conscious view of its maker's place in the world.

The bluegrass scene is now offically in touch with its feminine side. [Sep 2001, p.96]

Further evidence who believe Coxon is the most creatively restless member of Blur. [Aug 2001, p.98]

This is a profoundly good record. [Nov 2001, p.102]

It proves to be a violent, uncompromising record throughout...

The key problem lies in the album's occasional sense of underachieving drift. [Aug 2001, p.104]

The Detroit duo spin sordid tales and lovelorn drama with just the right amount of restrained percussion, blooze picking and screaming confessionals. [Sep 2001, p.93]

He's made the album he should've made right after Maxinquaye -- i.e., a listenable one. [Jul 2001, p.112]

In pursuing the anarchic, joyous mash-up of their debut Remedy to its twisted conclusion, Basement Jaxx find themselves in androgynous, genre-bending territory that is Prince-ly in spirit even when it isn’t in sound.

An album which makes his previous excesses seem conservative.... Dazzling though this bombardment is, it's a draining experience. [Jul 2001, p.97]

An interestingly mixed-up album. [Sep 2001, p.114]

It's a mellow, meditative and mid-paced work... TIB is still a strong record, which fans will grow to enjoy immensely. [Jul 2001, p.94]

If all you want to do is throw the same funky shapes you threw a decade ago, this long-awaited outing will more than suffice. Otherwise, it's the same old same old. [Jul 2001, p.114]

On first listen Poses feels diffuse and unfocused. [Jul 2001, p.108]

There's no easy niche in which you can place this new statement: like Dylan's Time Out Of Mind, it ventures into a doomy, mythological area, where the directions are muddied and the heartbreak is total. [Jul 2001, p.98]

Deliriously provocative, Amnesiac is as splendidly other and awkward as its sister album. [Jul 2001, p.104]