Talkie Walkie 's detachment is still, well, pretty -- virgins might commit suicide to it, but most likely they'll just swoon.

Finds these thoughtful Brits exploring even more emotional territory. [Mar 2004, p.96]

The 'Sailor can often sound a little too elfin even by the standards of the early '70s orchestral folk rock they love. [Jan 2004, p.100]

Without much dissonance or funk in the mix, this falls just short of butter. [Mar 2004, p.96]

They channel experimental noise, acid-drenched riffs, and live-show spontaneity into a record of brilliantly crafted nuggets of lysergic rock that is easily their most consistent effort to date.

All over the map. [Feb 2004, p.104]

The tunes are sub-Weez, but the vibe is right. [Mar 2004, p.96]

Rutili still crafts a tuneful funeral dirge with the best of them. [Feb 2004, p.104]

An album sanded with sad humor and a return to old loves. [Mar 2004, p.96]

The flow is straight-up alien: chilled-out and frantic at the same time, slightly breathless. [Feb 2004, p.95]

[Their] big beats lack the sure-shot hooks of their 1997 debut. [Feb 2004, p.104]

Ambitious, uneven. [Feb 2004, p.96]

She doubles the weird factor. [Feb 2004, p.104]

They're still pretty fly for old guys. [Jan 2004, p.97]

Sure to rule clubs and fashion runways from Milan to Monterrey. [Jan 2004, p.100]

Playfully sleazy, creatively reckless, and ridiculously, abstrusely, hyper-generously funky. [Jan 2004, p.95]

These hammerheads still sound like the touring company of Grunge-a-Mania. [Jan 2004, p.100]

While the vocals and arrangements are more ambitious and arguably better, there's less free play, less of the goofiness and kewpie-dancehall scatting that defined her. [Jan 2004, p.98]

If only this Baltimore art-rap exhibitionist were as consistently funny as his album titles. [Jan 2004, p.100]

A dark, emotionally intense record, best experienced on headphones. [Jan 2004, p.97]

A hectic sonic pileup. [Dec 2003, p.130]

Closer in spirit to Rancid's bighearted radio punk than to anything Pink has put her name on before--all scrappy power chords and wounded warmth. [Jan 2004, p.97]

Everything is underwritten or overwrought. [Feb 2004, p.104]

Everywhere the guitars are cranked, the sneakers set on stun. [Dec 2003, p.124]

Flails along the same path as 2001's casually brutal return to formlessness, Beat Em Up. [Dec 2003, p.123]

High grade West Coast guitar pop. [Dec 2003, p.131]

Payable on Death's heaviest tracks... easily outcrunch the competition. [Dec 2003, p.124]

Room's similarity to its predecessor ultimately bespeaks a purity of vision, not a dearth of new ideas. [Dec 2003, p.121]