There's just enough rock spirit here to keep Recording A Tape... too weird for Barnes and Noble background music. [Dec 2005, p.104]

A mesmeric 45 minutes. [Mar 2006, p.122]

Junior breathes new life into an already overpopulated genre of glitch and synth stab fury.

Although there are moments where you wish for the upbeat, there is a solace to La Llama. For all of you non-spanish and catalan speakers out there, your mind is not forced to translate any of the words either, but simply inspired to enjoy the ride.

Short with no filler, Daggers isn't revolutionizing rock, but noticeably stands out among its sonic peers. [Apr 2006, p.88]

Too often Mr. Beast is dire sounding and dull, and nearing deadweight. [May 2006, p.86]

Even though love and religion may be his False Priest, Barnes can't escape their torrid ties, and despite the struggle being a lost cause, there is much cause to rejoice on of Montreal's tenth album.

This is a disc with massive high points and few low moments.

Dalek is like a fine beer...it is an acquired taste, but once you get past that part, it is delicious. This is demonstrated well on Gutter Tactics, his newest release.

Clearly he's been listening to much Jeff Buckley... as Strangers throbs with that familiar bluesy bombast. [Mar 2005, p.112]

By the end [Vek] makes a convincing bid for Rookie of the Year. [Oct 2005, p.81]

In small doses (songs, verses, lines), Aesop's latest is a brutally great argument that hip-hop's new-new-new-new-new-school is as creative as its oldest. [Nov 2003, p.88]

Colder's continuous atmosphere of experimentation, and his own off-kilter vocal delivery, keep you on the edge of your ledge. [Jun 2004, p.84]

While Kesto's sweeping scope is impressive, this long-player is best reserved for cold winter evenings and late-night introspection. [Jul/Aug 2004, p.126]

It's all synths, moogs and bass kicking away like a fusion funk machine. [Sep 2004, p.117]

It's hugely ambitious, and yet also perhaps Ladd's most focused record yet. [Mar 2005, p.112]

Sigel spills enough raw emotion on these top-shelf beats to make Ghostface Killa shed a tear. [Jun 2005, p.85]

It's hard to care, to jump, jive and join the cause, when singer-guitarist Jenny Hoysten barely musters anything above flat, monotonous speak-singing. [Jul/Aug 2006, p.118]

Not much separating Brotherhood from "Singles 1993-2003;"...Now for the tasty part. Disc two contains “Electronic Battle Weapon,” volumes one through nine.

It rocks, sometimes wallows and wanders off, but still comes back to a lo-fi sound that's contagious and consistent. [Sep 2006, p.136]

Is similarly turn of the last century electronic, but in a darker and less slice and diced way. [May 2005, p.92]

Quite possibly the break-up album of the year. [Jan 2004, p.78]

Their best album since... Remedy. [Sep 2006, p.131]

Not just music, but a state of mind. [Jun 2005, p.81]

Don’t get it twisted, the Kidz have dumbed down--but they’ve smartened up just as much.

Unfortunately, lead singer Pall Jenkins's vocals are not as spectacular as the arrangements backing him. [May 2006, p.82]

Rated O is relentless enough and mean enough and playful enough to rope us in for 3 albums worth of music.

Finds them recapturing the magic. [May 2005, p.92]

All of these lyrics have already been said before and said more creatively, but what’s even worse is that they’ve all been said by him more creatively.

The self-reflective vocals... are an insightful change, while the slow-boiling builds on "Mind In Rewind" will simply make you want to buy your 303 back off eBay. [Nov 2003, p.87]

The result is in the vein of popcraft performers Phoenix, Air and others who occupy a great deal of the Astralwerks roster. [Jul/Aug 2006, p.132]

Despite some other choice cuts, there’s no cohesion to hold it together.

In spite of some awkward moments, though, Tomorrow Right Now is a dynamic endeavor from a compelling artist. [Mar 2003, p.93]

It's a veritable buffet of beats as she claws into everything from ghetto-house to industrial bombast with confidence and attitude to spare. [May 2004, p.83]

Magnificent. [Sep 2006, p.136]

Earthology, like its title suggests, is a study of the Earth, -ology, derived from the Greek logos, meaning branch of knowledge-and as such, is an informative journey with countless layers that serve to educate its listeners who pay attention, unwinding its knots to reveal its (in recent memory) unmatched complexity and depth.

Mini-symphonies of machine hum and orchestral swoop. [Apr 2005, p.109]

Trippy vocal distortions, rock guitar, and the either enlightening or bewilderingly entertaining lyrics create what the younger audience commonly refer to as “The Shit.”

Their second-full length record is an earthy, brazen affair simultaneously speaking to the romantic idealist and weary traveler.

Digs deeper into his sonic bag of tricks, producing a panorama of inspired ideas. [Jul/Aug 2004, p.125]

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Even though Prekop and Prewitt continue interlocking their guitars over spiny rhythms from McEntire and Calridge throughout the set, something doesn't quite click often enough this time around. [Nov/Dec 2008, p.87]

[Contains] scattered but affecting shots of brilliance. [Oct 2006, p.117]

Musically, this record definitely shoots what it was aiming for, but I wouldn't listen to it unless you are, or want to be, severely depressed or disturbed.

Tobacco’s jagged, unconventional sounds aren’t easily pinned down, and therein lies their appeal.

It's clear Saint Etienne have returned from their pastoral hiatus, ready to do what they do best: distill and riff on music history's catalog with inimitable style and substance. [Nov 2002, p.98]

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

Jump Leads mixes up so many tasty ingredients -- vocals, live instruments, a lysergic meltdown of beats -- that it could be the album that sees Cobby and McSherry getting the acclaim they deserve. [Mar 2002, p.115]

Prefuse 73 has defiantly asserted himself as one of the most important artists of his generation, ignoring boundaries and creating a landscape that recognizes hip-hop's original "anything goes" ethos. [Apr 2005, p.99]

His latest outing, Afterparty Babies, doesn't derail that path, but it struggles to stay on course.

No boredom here. [Jul/Aug 2005, p.108]

One almost has to listen closely to take notice of Devotion’s every last little benumbed intricacy but it’s as rewarding as it is tantalizing.

[A] blend of wobbly slide guitar chords and simple, steamy beats. [Nov 2006, p.128]

An astonishingly relevant album. [Mar 2006, p.112]

Whereas past Wu albums have been scorned for their filler, Meth, Ghost and Rae leave plenty on the chopping block this time around, only allowing the best of the best to make the cut on Wu-Massacre.

Haines has... shown glimpses of a broken and beautiful solo artist just waiting to tell her story. This, my friends, is that breakout album in spades. [Oct 2006, p.122]

A stunning debut. [Apr 2006, p.96]

Producer Ethan Fawn's dynamic overlays of crisp, factory-stomped melodic lines carry Glass's unintelligible lyrics straight to neon-lit nausea heaven.

Finding Forever, Common’s spectacular seventh full-length, isn’t 'The Bitch in Yoo,' but it is his hardest release since.

Watersports sets itself up nicely for some critical acclaim, and its multi-genre versatility will make it easy for people of all musical tastes to find something to enjoy.

Major Lazer have never been bashful about appropriating musical styles where ever they find them; every song they make seems to be trying to remix the entire global street culture all at once. On Lazers Never Die they manage to duct tape all their influences together into a fun, listenable package.

At the end of the day, I'm Gay (I'm Happy) proves that he is a much better artist (and role model) than anyone was led to believe.

Among the most engaging albums of the year. [Jul/Aug 2005, p.108]

Numbers are getting by on an awesome sound more than an awesome song. [Oct 2005, p.79]

Die-hard fans may not like the style change, but I think it’s a step in the right direction.

Now far denser than disassociated, this is Ladytron at the group's most masculine.

Simon Green stands with a select group of musicians who have been consistent in both quantity/quality output of this type of introspective music. Bonobo's Black Sands is an album that should not be missed and is undoubtedly one of the most superior releases of this year.

Don’t be expecting any Texas harsh, desert-crusted psychedelia–this is more fields and forest music, lush electronica crafted with some awesome, mutant pop songwriting.

She's made some excellent and creative dancefloor techno here, but like so much great techno of the past, it fails to gel into a definitive album. [Jul/Aug 2005, p.99]

They throw light on their shadowy melancholia, resulting in positively euphoric tunes. [Mar 2005, p.111]

It goes down like a cold fresh glass of Jazzy Jeff and the Fresh Prince, circa 1988. [Sep 2003, p.102]

Put [Monkey] on in the background and it'll sound good, but you won't necessarily notice it. [Apr 2002, p.126]

Certainly a nice full-length, though it would be interesting to see what a vocalist could add to their formula . [Jun 2004, p.86]

The blues stomps have been muted, and none of the 11 songs are her own. [Oct 2005, p.110]

Whether it’s Mark’s influence, or Kinky’s own growth over the years (or maybe both), this album has universal appeal and its party-ready, rich sound is one that would be a shame to pass up.

When The Streets gets lazy, he becomes less of an artist and more like a novelty. [May 2006, p.80]

The whole album is a spacey trip, and it acquires several listenings to be on their side. They're definitely not stagnant, but it's still a step back from their debut--not in time, but in appeal.

This is not a bad record, just not what the game needed from De La at the moment.

The album captures the band's unmistakable sound but they've also added some new flavors. [May 2006, p.91]

The tunes are taunt and chipper and the instrumentation is full and flirty as promised. But their tunefulness falls into question with these ears.

Much like Sufjan Stevens (but without the history professor schtick) Vanderslice is a one-man orchestra of plucked and bowed strings, living-breathing organs and lullaby vocals that narrate his musical characters with explicit detail. [Sep 2005, p.114]

It sounds like Drew would still benefit from having his Canadian ragtag team behind him though, because his solo effort just isn't very strong.

At times reminiscent of Neil Young. [Sep 2006, p.139]

It's a delicate album that's simultaneously sophisticated and warm. [Apr 2007, p.106]

While the album is a fun first listen, it's in taking that second and third spin of Waterloo to Anywhere that the band's infectious quality becomes a full-fledged epidemic. [Sep 2006, p.142]

The songs all come from a similar place, but a solid bass line and focused rhythm will always carry the day.

A classic rock-influenced masterpiece of horny fun. [Apr 2006, p.84]

What may be most surprising here is that the Allstars have dipped their toes into the previously uncharted waters of pop songs. [Mar 2002, p.116]

Come With Us will doubtlessly electrify their legions of fans and just as effortlessly enrage the condescending cognoscenti that loves to hate them. [#90, p.120]

Like all exploratory trips, sometimes he has prophetic visions and sometimes he just rolls around a lot. [Oct 2002, p.94]

The insanity in Tyler's ever-more-popular rap character feels real because he too recognizes it. He's crazy and it's crazy that we're listening, but maybe that makes the actual world slightly more sane. Oh, the horror.

Following a seven year gap between studio albums, Sacramento's CAKE is back with the compelling, yet inconsistent Showroom of Compassion.

Visitations occasionally suffers from "too much of a good thing" syndrome. [Jan/Feb 2007, p.77]

It’s a rare thing to find so many talented collaborators (notably Guilty Simpson, Oh No, & Murs) on top of the skills of such a creative and accomplished selector as Madlib. WLIB AM puts an odd twist on oldschool and dresses to impress.

Updates the happy-fi Plastilina Mosh sound into a pop-friendly mix of hip-hop, funk and lounge-y atmospheres. [May 2002, p.116]

The extended running time of Young Miss America starts to act against Lafata toward the full-length's end. [Jun 2003, p.93]

Grabs you from the opening seconds with a best-of-all-worlds combination of gritty, menacing music and witty, hilarious lyrics. [Nov 2004, p.99]