Impressively raucous. [#240, p.68]

Juggles multiple ideas of modernism with unusual grace and success. [#234, p.53]

This is Pole at his most expansive and communicative. [#233, p.69]

New York Noise is exemplary: the right mix of 'hits' and obscurities. [#233, p.71]

At their worst, Ui thrash like run of the mill math-rockers, basses turned to 11 and meandering loudly.... What rescues them is a burgeoning melodic sensibility. [#233, p.71]

However hit and miss, though, all of these voices and genre grabs are made to sound stylistically coherent. [#236, p.71]

Guru is... pushing the same grim consistency that makes folks describe Gang Starr albums as 'solid', not budging, not boring, but not better than Moment of Truth. [#234, p.73]

Initially sounds nothing special but gradually crawls into your subconscious and sets up home. [#233, p.72]

Tricky's problem is that the future has caught up with him. [#233, p.71]

Unlike a lot of electronica, the music never lapses into mere tastefulness. [#235, p.75]

Sadly few of his spiels impress solely on the strength of their content. [#235, p.55]

Has a lot more of SF's itchy electro-Techno fizz than it does 'proper' HipHop beats. [#231, p.75]

Those who find Anticon's selfconsciousness and self-flagellation a bit hard to stomach may be able to digest Odd Nosdam's maddening instrumental collages. [#230, p.71]

Band Red suggests they have reached meltdown and anybody encountering their post-punk roar would be advised to stand well back. [#243, p.74]

Delicacy replaces density here, but his capacity to unnerve remains on these sedately mournful chamber pieces. [#231, p.74]

The only problem with Politics of the Business is that there are too few of the loose ends and lateral leaps of, say, Three Feet High. [#232, p.69]

Frankly, the guy defies you not to be impressed by what he's got. [#234, p.53]

As Four Tet, Hebden has devised a musical identity that is distinctly different from his work with Fridge, but both projects share a passion for defying boundaries. [#231, p.60]

For all the homemade, quirky charm on show here -- and the album has plenty of wide open, lyrical moments -- Ether Teeth leaves behind a lingering, moody, melancholy aftertaste. [#231, p.60]

Isn't so much a leftfield perversion of HipHop as it is a restoration of the genre to its avant garde roots. [#231, p.67]

A set of intelligently performed rock tunes distinguished by Karen O's smart and smarting lyrics. [#232, p.74]

A taut, brutal collection which is as strong as anything they've released in their previous incarnations. [June 2003, p.65]

The feel... is more relaxed, more organic, more approachable. [#230, p.69]

A feast of buried treasure, a flickerframe parade which continually offers up magical fragments of sound, revelatory and transitory in equal measure. [#230, p.46]

Adult. proves that there need be nothing fey or even particularly cheeky about synthesizer music. [#231, p.75]

While rock fans may be disappointed by Yo La Tengo's fleeting venture into playful jazz, the group continue to produce music that's full of gesture and emotional intensity. [#231, p.73]

Approaches the psychedelic grandeur of Spiritualized or Mercury Rev at their finest while still offering a wealth of carefully placed sonic detail. [#229, p.71]

A very nice slab of pan-generic, lof-fi, yearn-pop. [#231, p.59]