By capturing moments of ancient past, Gerrard and Cassidy have somehow created something timeless through set-in-stone permanence.

Avril is not some brilliant songwriter, and her voice is good, but not amazing, and her ‘tude is a little ridiculous at times. Despite this, she is the most refreshing and exciting girl in pop rock today.

While it&#146;s unrealistic to expect another Kid A-like transformation, by pulling all those familiar elements together, Hail to the Thief sounds, well, a little familiar.</A> [Note: Score listed is an average of two separate reviews: a <A HREF="http://www.stylusmagazine.com/musicreviews/radiohead-hail_to_the_thief2.shtml" TARGET="_blank">68</A> and a <A HREF="http://www.stylusmagazine.com/musicreviews/radiohead-hail_to_the_thief1.shtml" TARGET="_blank">90</A>.]

Pink has fought the record companies for control of her career and won- and with the sage advice of producers and executives she has come out with one of the best pop albums of last year.

A 21 minute 41 second short burst of booming, stylish rock alchemy.

Velocity is one massive dose of extremely fuzzed-out pop.

Review 1: <A HREF="http://www.stylusmagazine.com/review.php?ID=1416" TARGET="_blank">Ultimately, Closer doesn&#146;t disappoint and represents a legitimate fifth installment in the Plastikman series, in spite of the fact that it breaks little new ground beyond its predecessors.</A> [score=75]; Review 2: <A HREF="http://www.stylusmagazine.com/review.php?ID=1417" TARGET="_blank">Hawtin [is] firmly again in the leagues with the masters of the genre.</A> [score=81]

Elvrum&#146;s tightest song cycle yet, truly focusing and clarifying the themes and ideas he&#146;s explored on all his albums.

Despite some clunkers, Dirty Dancing delivers.

Though you really can&#146;t forget any of the work he&#146;s done in the past decade or so with his former band, Jason Loewenstein has really pulled off a gem of a record that momentarily loses you in his own music.

It may not be the psychedelic mind-warps that the Chemicals usually offer up, but it is an excellent debut and delivers the tunes we were hoping for earlier in 2002.

The songs here are full of life, moving freely, focused without being bare and controlled without being uptight.

The sound of the recording is clear, the audience is not annoying and Hayden&#146;s banter in between is quite humorous and as good as the music.

Anyone that expects the pulsating You Guys Kill Me would be better off sitting this one out, but Elliot has pulled off a tricky feat here: stripping down his sound to more orthodox "rock" instrumentation, without losing his edge.

Perhaps the producers have toned themselves down a bit just so Aesop can rock harder. Maybe they don&#146;t want to steal his thunder. Whatever their motivation, the beats feel somewhat restrained, lethargic and lazy. But they are perfectly suited to Aesop&#146;s limpid down-tempo rhymes.

A polished, carefully crafted set of beautiful, intense songs that lay bare the singer&#146;s heart as honestly and effectively as anything she&#146;s attempted before.

For the first time since their full-length debut album 1977, Ash have achieved synergy between their sweet-as-milkshake pop and the full-on heavy metal and punk that inspired Hamilton and Wheeler to pick up guitars in the first place.

Another fine batch of eloquent, classic sounding pop songs, with a little bit of mustard added to it as well.

While the record is surely Tweedy&#146;s most experimental to date, it&#146;s also, amazingly enough, his most lighthearted. In the end, this is both the gift and curse of Loose Fur, in band and album form.

The restless Broder can&#146;t see the problem with shredding flavours as disparate as folk, rock, post-rock, the avant-garde, hip hop, electronica into a powerful, sometimes jarring, sometimes bewitching pulp, and neither should any music fan. Listen and free your mind from convention.

Somehow The Polyphonic Spree have managed to make a record that actually is simple, joyous, and spiritually uplifting.

Power In Numbers is like a coming out party for J5, as it shows their ability to shed their label as a novelty and proves they are talented in their own right.

It's a mixed bag, to be sure, but even Autechre's clich&#233;s are more interesting than nearly everything else you'll hear this year.

This is North London collection-plate-pub music of a very high calibre.

All the songs sound almost exactly the same. I don&#146;t care! It doesn&#146;t matter! Just dance!

The album maintains a consistency that was sorely lacking on Amon Tobin&#146;s previous records. However, in doing so, the album sacrifices the innovation and uncontrolled experimentalism one expects from Tobin.

Kinky has the potential to transcend both the dance and Latin music genres, simply because of their ability to do just a little bit more than what&#146;s expected.

Despite the ubiquitous lackluster second half, and some weak tracks scattered throughout, the opening triple-threat supersedes them.