The Altogether is, all stated evidence to the contrary, a remarkable work. Why? Because it is the product of two brothers who, understanding that they can kid neither the audience nor themselves, mapped a musical course based on their root love -- musical energy -- and never strayed. [Sep 2001, p.147]

The crew's 1982-ish rhyme schemes and vapid lyrics reach new lows. [Oct 2003, p.85]

Just rock out to some really good music. [Jan/Feb 2005, p.96]

Loyalty to Loyalty, the band’s sophomore release, isn’t as immediately impacting as that first round of songs, but CWK didn’t lose their charm (or literary obsessions), either.

Like the Postal Service's wiser uncle, this is emo-electronic that doesn't whine, but rather approaches with a sense of musical and lyrical purpose. [Sep 2005, p.104]

Despite what the blog-haters might say, Gibbard and Co. more than make the grade. [Oct 2005, p.77]

A post-electronica, post-rave production that jettisons genres and cherishes uncut creativity. [Jan/Feb 2007, p.77]

[A] big, bold, rock-for-the-dance-floor romp. [Jun 2005, p.84]

From the preparation to the club to the dreaded hangover, Weekend takes you all over and in between, and is sure to leave you asking for more.

Polysics' contorted robotones are so hot they should spew from volcanoes. [Apr 2006, p.97]

Next to the Eels and Atmosphere, eclectic and earnest self-examination hasn't sounded this interesting (not to mention entertaining) in a while. [Aug 2002, p.118]

This madcap comp is a blast. [May 2002, p.120]

Touching Down evokes the unique funk sensibilities that made his seminal V Records and Full Cycle tracks so damn fresh, while giving you the sense that England's Bristolian isn't returning to anything, since he never left it behind to begin with. [Dec 2002, p.87]

His electro sound [cannot] stand out through the chaff of a million imitators over two decades. [Dec 2004, p.118]

There are... some impressivley fresh ideas lurking between the anthemic bits. [Sep 2006, p.137]

Gleefully uneasy listening. [Feb 2004, p.82]

While it may be Moby's darkest record yet, Wait For Me should, at very least, serve as an optimistic sign that Moby's independent creative juices are still flowing.

Experimentation and metamorphosis--of sound and of character--are the paragons of this alter ego, and RZA seems to be swimming in both these days. All the pieces fit, and when RZA goes Voltron, he’s at the top of his game.

It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.

It’s not just his vaguely interesting falsetto or all the emoting on his debut; it’s that all those emotions are under the guise of some real heaviosity but really aren’t saying shit.

Magic Numbers have pushed their abilities while keeping their strong points on performance and substance. [Mar 2007, p.100]

The whole act is a gimmick, for sure, and one that wears itself thin awfully quick. [Nov 2004, p.98]

The end result just isn't up to the standards of which either of these musical titans are capable. [Mar 2006, p.119]

A fierce vision quest of psychedelic riffs 'n' roll that manages to sound like hard rock, shoegazer and new rave all within the same song, yet never feeling forced or false. [Mar 2007, p.98]

The synths and cheese riffs have dawdled so far down the path of meaningless self-abuse that they give all forms of masturbation a bad name. [Jan/Feb 2006, p.81]

This record is too flat. [Jun 2006, p.119]

Omni doesn't reach the same dizzying heights that some of their past releases have attained, but it's a solid piece of work. Definitely something to keep blasting in the car for the upcoming summer months.

Starfucker has crafted a solid, catchy, well-produced pop record that should have the hooks and emotional resonance to compete with most indie-rock contemporaries for lovesick teenagers’ iPod disc space.

While meticulously arranged, Mind Elevation contains its share of anonymous, carbon-copy beats. [Sep 2002, p.104]

Each release generates one or two hits and is never regarded as a classic, but 4:21...The Day After may be an exception. [Sep 2006, p.137]

With positive vibes along the lines of fellow Brits The Kinks, Konk flows cohesively and is easy and pleasant to listen to all the way through (which is very hard to say for most full-lengths in this era of hit singles).

The Game pairs that unabashed love with swirling ideas and concepts that elevate the record to an easy contender for album of the year.

Love 2 is a pleasurable and satisfactory record, one where every track provides just what’s needed and sets the stage for a new composition to step in and carry the beats to their finale.

This time, he's truly on some next shit instrumentally and vocally. [Nov 2004, p.98]

Once the headphones are in place, it becomes apparent that the Frenchman has indeed pulled off another masterful work. [Mar 2005, p.111]

Levi seemed to have a great idea for Never Never Love, but didn't execute it as well as he possibly could have; so in practice, the record does not flow as well as he may have liked it to.

Kozelek can make even the most lively of songs one strum shy of a death rattle. [Jan/Feb 2006, p.103]

The most palatable Mike Patton project to date. [Jun 2006, p.113]

It might be difficult to differentiate after nine full-lengths, but Mixed Race may be the least engaging album we've heard from Tricky to date.

More of the breezy, lo-fi indie pop that aligns Mark in the Elephant Six canon of pretty-pretty flights of fancy. [Mar 2007, p.101]

An impressive artistic debut. [Oct 2002, p.96]

Notwithstanding a few guaranteed pop hits, the new album will probably leave most dance diehards cold... the album's dance cuts stick to the typical sampling-and-looping aesthetic that's been a bit tired for a while. [#79, p.123]

Was it a signature-sound effort, or a further exploration of their film score work on "Breaking and Entering" or Danny Boyle’s 2007 sci-fi film "Sunshine?" These two worlds collide beautifully.

As strong as volume one, Hebden and Reid's finale to their improvised sessions is worthy of an encore. [Jul/Aug 2006, p.124]

More style than substance. [#104, p.95]

It’s a welcome return to “vintage” Stills, after an attempt at stylistic departure (2006’s "With Feathers") was met with lukewarm critical reception.

It does all go a bit Sheryl Crow occasionally... but the darker clouds remain. [Oct 2006, p.117]

Sure it's not as deep, dubby or listless as Charango, but this album is equally suitable for the late-night comedown. [Oct 2005, p.79]

Hammond, Jr. paints an awfully pretentious portrait of a dude caught playing with his best friend’s b-sides.

While Hello Everything is everything you'd expect a Squarepusher LP to be, therein lies the problem: It's exactly everything you'd expect a Squarepusher album to be. [Oct 2006, p.130]

Boratto’s focus remains on approaching the line of excess without tipping over. And once again he stays on the wire.

The duo’s debut does not reinvent the wheel, but Thunderheist delivers a fun, funky dance set that should offer at least a few surprises.

Upon first listen, the crew miss the mark with the unfortunate single, "If You Want It," a trainwreck attempt at a new audience. However, there is nary another song on the album so reprehensible. In fact, there are at least 5 cuts that will have many of you reaching for your disco biscuits and hoping for a Skytel page with the coordinates of an epic warehouse sweatfest.

The album certainly excells when the faux-accent is beaming British. When it isn't, the album can grow monotonous but overall, Brain Thrust Mastery keeps the trash smelling absolutley delightful.

Combined, you have the best blotter soundtrack ever. [Jun 2005, p.78]

Finds a band in utter denial of what is precisely its appeal. [Sep 2006, p.143]

Sam's Town is bloated with verses that helplessly swipe at capturing something, anything, significantly American. [Oct 2006, p.129]

So dark and twisted that it makes Joy Division seem like shiny happy people. [Mar 2004, p.110]

Franti's most eclectic offering yet. [Jul/Aug 2006, p.116]

The Spirit of Apollo is what happens when the imagination is let out of its cage. Good things happen.

Some of the rawest sounds of his career. [Apr 2006, p.90]

Depressing? Slightly, but there's something cathartic here. [May 2006, p.95]

You can recommend any track on this release to friends without fear. [Apr 2006, p.92]

Gorgeous, thoughtful, and musically brilliant, the album runs like a concept album about life experiences should...beginning, middle, end; all equally interesting and exciting.

As a whole, Colonia takes on a very operatic, larger than life, almost ABBA-esque quality, which grows a bit tired as the album winds down.

The Teenagers are pretty damn good at distilling all things incredible, wicked and true about being young.

These Thieves have finally come into their own, developing a sound that's growing increasingly distinct. [Oct 2002, p.100]

CYHSY seem to have set out to make their "important" sophomore record... which is only truly important if you believe that songs gain weight at the hand of bulbous studio wankage (they don't) and that unnecessarily inflated melodrama equals more fun (it doesn't). [Jan/Feb 2007, p.76]

Matching catchy pop songs and good production to hip-hop's most wanted, it all comes full circle in Straight No Chaser.

Campy, kitschy but always cool. [Mar 2005, p.119]

At times self-indulgent, The Colossus contains enough of the parts that made RJD2 relevant in the past to reignite interest in both this album and his vast (and growing due to unreleased material) back catalogue of work.

From the get-go the album announces itself through insidious emotive aural effects, which through a blistering barrage of time-travel sounds, encompass the listener in a feeling that although intense, evaporates rather instantly.

A melodic minimal techno record that's sunny rather than stark, emo(tional) rather than eerie. [Jul/Aug 2006, p.129]

A diverting listen. [Jun 2003, p.94]

A strangely satisfying pop record. [Jan/Feb 2006, p.92]

In a case of not fixing what isn't broken, they return with a veritable cornucopia of crossover-ready collaborators eager to see if lightning can indeed strike twice. [Jul/Aug 2004, p.127]

You've heard it before and frankly, you've heard it better. [Jun 2004, p.90]

Any track... could comfortably fit on any of their previous efforts. [Apr 2006, p.84]

For every gloomy 4AD inspired "Hail Xnanax," there's the poppy metronic Kraftwerk pulse of "Zugaga." [Jun 2005, p.77]

Lush, engaging and quirkily accessible. [Apr 2005, p.102]

Take the jokes for what they are and discover that Felix's style-shifting is refreshing at album length. It may even make He Was Kings the finest full-length effort he's ever created.

Stalwart fans of Morcheeba won't be disappointed. [Mar/Apr 2008, p.106]

A big, heaping spoonful of bland. [Mar 2007, p.96]

This time the band offers a variety of styles, from uptempo rockers to gorgeous ballads to move you. [Jun 2006, p.119]

Much of the album fails to make sparks. [Nov/Dec 2001, p.142]

Although at times the tunes become monotonous, the brother and sister group show that they’re going to be around for a hot minute, cranking out anti-Disney channel ditties in the name of all things punk.

For the first time since 1995's "Everything Is Wrong," the producer who cashes checks as Richard Melville Hall has made an album that, while not devoid of song craft, doesn't allow the pop elements to overpower the dance floor punch.

You love your iPod, so you'll like this album, at least the Bowie-esque parts. [May 2005, p.92]

Too bad they bring nothing new to the fold. [Dec 2004, p.118]

Where Shadow ultimately sutmbles is on the britpop tip. [Oct 2006, p.116]

This albums isn't as infectious as "You're A Woman, I'm A Machine," but who cares? Grainger didn't make it for DFA fans. [Nov/Dec 2008, p.85]

The record exudes a childlike exuberance in the early going, before descending into a Shadow-esque gloom. [Jul 2003, p.93]

What gives [Strength In Numbers]... the sound of a band landing its proper second stride is the hiss and grind that churns docile compositions into studio-kissed wonders. [Mar 2007, p.97]

The Looks shows off MSTRKRFT's deep understanding of making people move. [Jul/Aug 2006, p.125]

Though varying little from past Tyde albums, Three's Co. is a welcome tribute to summer. [Sep 2006, p.139]

More! is filled with playful, soft and dynamic production, but instead of having a fluid album format, it feels a little inconsistent. And an unnecessary and dated vocal feature from Yello on "Divine," weakens the whole flow and picture.

It's hottest moments are tepid at best. [Feb 2004, p.77]

Overall, Sexor has four great tracks and 10 cuts that run the gamut from passable to forgettable. [Sep 2006, p.140]