LoveHateTragedy is a compendium of modern rock styles, glued together by Papa Roach's exuberance and Shaddix's outsized persona. [July 2002, p.119]

Those converted via the O Brother Where Art Thou? soundtrack may find the starkness and religiosity here unpalatable. [Jan 2003, p.123]

Highly charged without being mawkish. [July 2002, p.115]

The riffs are cleaner and catchier than on previous records. [Aug 2002, p.126]

A return to form. Definitely. [June 2002, p.108]

Combining the brittle emotion of Bob Mould with Dave Grohl's understanding of rock dynamics, My Vitriol are robust enough for the moshpit while also providing the perfect soundtrack for those dark nights when the only company you need is a wine bottle.

Lavigne displays a musical guile way beyond her years. [Sep 2002, p.109]

Understated and slightly surreal, this could be dance music's answer to Pink Floyd. [Aug 2002, p.122]

It's a disjointed affair, but there's no denying the robust confidence with which they carry it off. [June 2002, p.111]

It's a deeply Manchester album: melodic yet substantial, uplifting and acceptable to football fan and student alike. [May 2002, p.109]

There's the humanist warmth and simple joy that you hear in The Beach Boys or The Flaming Lips at their best. [Nov 2002, p.114]

Low on booty-shaking but high on atmosphere. [June 2002, p.119]

The only problem is Slim Shady. As Eminem outgrows his old alter-id, so the obligatory pantomime villainy, skits and crass cameos by Shady Records signings become a hindrance. [July 2002, p.109]

An oddity for sure, but much too good to be restricted to specialist alt-rock record retailers. [July 2002, p.122]

By turns magical and maddening, it's with the house-tinged ambience of singles Breath and Love Can Damage Your Health that they excel.

Ferry has covered so much ground that it's hard not to repeat himself. [Apr 2002, p.112]

No matter how much frenetic energy is exuded, Title TK fails to ignite The Breeders' former fire. [May 2002, p.108]

A more coherent album [than Play], it enchances rather than advances his previous approach, proving superior to its predecessor because its music is more sensitive, its emotions more personal, and what's on offer is a closer, more inviting experience. [May 2002, p.105]

It'd be easy to throw the "emo" tag at them, but Matt Pryor's approach has more in common with the disarming honesty of Weezer's Rivers Cuomo than mere whinging. [Nov 2002, p.100]

Rush sound like they're slowly but audibly running out of puff. [July 2002, p.118]

Amid all the bitching and moaning are some of the finest songs of Weezer's career. [May 2002, p.118]

Finds Zevon reverting to a fuller, plumper, back-to-the-'80s sound. [July 2002, p.122]

That's not to say these 11 tracks lack merit, just impact, such highly-strung, right-angled songs as Right In Time frequently becoming bogged down in experimentation. [Jun 2003, p.96]

Its woozy title track, oddly sideways lyrics and often meditative vibe make it a strangely gorgeous and graceful work. [May 2002, p.114]

A powerful and almost gleeful celebration of the horrors of the world. [May 2002, p.114]

It's perverse, contrary and, on stand-out tracks No Home Without Its Sire and Just For Love, surprisingly engaging. [Aug 2002, p.120]

The thing about prog rock is that it is supposed to progress. [Mar 2002, p.122]

A vibe of maverick playfulness married to fabulous tunes. [Apr 2002, p.106]