Buoyed by a blissful, lovestruck mood, this album's sumptuous tone elevates it beyond familiar terrain. [Aug 2002, p.128]

This is aching ramshackle folk rock. [June 2002, p.124]

Battered, bonkers and bewitching in equal parts, Yankee Hotel Foxtrot at last finds Wilco's "interesting" phase becoming downright fascinating. [May 2002, p.121]

In the main this is a richly rewarding collection of lovingly realised songs. [June 2002, p.121]

Cornershop have clearly been biding their time, not squandering it, returning with the kind of meaty, substantial, truly multi-dimensional project they've long been working towards.

The new "proper band" architecture well suits these touching, often funny songs. [Apr 2002, p.119]

[Control] finds Bazan wearily retreading themese of religion and relationships. [May 2002, p.119]

The chill out crowd, and anyone else unbothered by such walk-ons, will happily drift off to the rich, inevitably orchestral backdrop, thinking it ever so classy. Which, of course, it is.

Crow still rocks. [Apr 2002, p.111]

Mostly what you'll hear, though, is the hollow sound of a man needing a good, long break.

Assured and dignified. [May 2002, p.119]

There's still a whiff of contrivance about it that spoils the good work. [May 2002, p.112]

Like all jokes, it's not as funny second time around. [Jul 2003, p.110]

Spencer's shtick seems slightly threadbare after 11 years and the musical innovation of earlier outings is conspicuous by its absence.

Taken as a whole, it's liable to become soporific, but individual tracks are near perfect essays in understated melancholy. [May 2002, p.117]

She avoids excessive sugariness via edgy, sensual lyrics and Timbaland's superlative production. [June 2002, p.123]

Bracing, cynical, state-of-the-art fun in the spirit of Little Richard, Van Halen and The Damned.

It's a hypnotic mid-paced but hard-sounding beast which yields more with each play. [June 2002, p.112]

Admittedly Maas is hardly reinventing the wheel here, but there's a freshness and pace that's been missing too long. [Mar 2002, p.126]

Aurally, Super Furry Animals are evolving into a hybrid of Blur and The Cardiacs. (Drawing) Rings Around The World, Shoot Doris Day and Presidential Suite are excellent, most of the remainder pass muster, but there's nothing to change anyone's world.

He tackles unexpected covers to pleasing effect. [Mar 2002, p.120]

While lacking the high-concept drama of the similarly-minded Rammstein, KMFDM are more sonically adventurous: drum'n'bass and digital dancehall spice up the usual murderously heavy riffing. [May 2002, p.115]

Everyone will say this sounds like Beck, but at the last count Beck would be lucky to sound like Eels.

As predictable as rain in February. [Mar 2002, p.123]

Still a stunningly individual reinvention of hip hop and R&B, with great songs swimming in a murk of bizarre arrangements. [Apr 2002, p.119]

After a couple plays, his just-crawled-out-of-bed falsetto and homemade designs start taking root. [Nov 2002, p.102]

Once over the shock of Mould's familiar tones being vocodered beyond recognition, Modulate offers some of his most effective pop songs. [June 2002, p.120]

Music Kills Me occasionally drifts into the overly familiar world of laid-back jazz grooves, Latino rhythms and flutes, but there's enough elsewhere to intrigue. [Apr 2002, p.120]