The colors of the view, the hill, and the sky blend into one swirling colorful, confusing masterpiece. Just when you begin to think you might reach overload, you land cleanly on the ground, on your feet. You just listened to Alien in a Garbage Dump.

This is Kelis' big moment, and she more than rises to the occasion. [Feb 2004, p.82]

Super Sound makes up for any lack of focus with attitude and a prevalence of splendid, melodic pop. [#81, p.120]

A sometimes abrupt, hard-to-pin-down voyage with fun surprises and plot twists. [Sep 2006, p.131]

They rant and roil through aggressive blasts of adrenaline and youth... like their nads are on fire. [Jan/Feb 2005, p.94]

The perfect soundtrack for a late Sunday night. [Jan/Feb 2005, p.96]

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]

Reminiscent of our favorite moments from groups like Radiohead, ColdPlay, and Kings of Leon, Everyone I Ever Met is sure to garner the vintage Schwinn- riding guys from Oregon some well deserved props from music lovers world-wide. Do not miss this stellar release.

Most of the time listening to anything that's on the Hot 100 is considered a guilty pleasure. Music for females, not fanboys. But thanks to Girl Talk, Feed the Animals makes the feeling less filthy—thus the embarrassment is less painful.

Experimental hip-hop and moppish guitar pop *can* go hand in hand. [#90, p.118]

Everything here–like his entire songbook pretty much–is delivered with presence and vigor.

Even though the “fast forward button” will be needed here and there, The Stimulus Package is still a solid release that is easily the top hip-hop release so far this year.

You could buy this album just for "Poney Part 1," and really, it'd be worth it. [Jun 2005, p.81]

Baltimore's best-kept secret is ready for the world. [Sep 2005, p.119]

While a handful of tracks may... seem familiar to fans of PiL, Dinosaur L, ESG and Primal Scream, Echoes manages much more than aping influences. [Oct 2003, p.83]

The two mini-albums are both successes in vastly different ways, but they are especially effective as testaments to the versatility and adventurousness of Zach Condon.

Beans emerge[s] as the underground's answer to Pharrell Williams, insanely stylish and armed with beats and rhymes to spare. [Feb 2004, p.78]

Definitely the earbuds experience of the month. [Oct 2005, p.85]

A few moments... break through the post-punk grind to show a little more breadth. [Apr 2006, p.90]

If we're to accuse Chemical Brothers of anything, it's trying to set a lofty new bar in the style they themselves created, and that no one else seems to be working anymore. [Sep/Oct 2007, p.128]

Each song is perfectly buoyant and bold standing alone or considered on the whole. [Jan/Feb 2006, p.95]

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

Drukqs is the most sincere album [James] has released since 1995's I Care Because You Do. [Nov/Dec 2001, p.131]

A reminder of artists like the Breeders. [Mar 2006, p.122]

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

The defining thread running through Chromeo's body of work is earnestness: you might scoff at the Lothario-obsession, the legs on display in the artwork, the almost-religious adherence to '80s stylistics, but in the end you either have to a) give it up for their studiousness, or b) just dance.

Ghost Colours sounds like Depeche Mode on Lorazepam--dramatic, well enunciated and full of arpeggiated synthy goodness.

He merges genres and styles, and it's impossible to resist his bass heavy and chest bursting productions.