What’s really impressive here, however, is instead of crafting another album filled with ethical coaching (which was actually a pretty damn good record, by the way), the group found an interesting theme and stuck to it.

Back to Black is overflowing with the '60s Supremes warmth that has been fully absent from the "standards" of today's R&B. [Apr 2007, p.108]

Double Night Time unapologetically flaunts its electronic overcoat, and glam it should, given the remarkably clean sounds coming from Geist’s boards.

11 tracks of classic ambient house and melodic decks and EFX exercises. [Sep 2004, p.116]

Rather spectacular. [Jul/Aug 2004, p.126]

Magnificent. [Sep 2006, p.136]

Being a gluttonous hard-ass has been a tough requirement to scratch from the 10 rap commandments, but a growing trend in transparent MCs finds Atmosphere atop the pedestal of its post-Prozac and Adderalled audience. Maybe good dads just make the world better, one damn fine album at a time.

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.

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

Murs is both hard and intelligent. [May 2006, p.88]

The now-three-piece group proves they haven't lost their ability to blend superb pop hooks with dance beats. [Sep 2007, p.131]

The band plainly “rocks” and on Wolfgang Amadeus Phoenix they have perfectly translated that ability onto their proper recorded output--for better or worse.

Absolutely endearing. [Jul/Aug 2005, p.101]

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

With its lush layers and shoegaze indie sound, You Can’t Take it With You forecasts clear skies for the guys.

While they have been slowly inching in the direction of a purer pop record post-"Simple Things," Binns and Hardaker seem to have finally found their stride.

With the release of this new album, There Is Love In You, he's shown his versatility in dancefloor culture while remaining true to his own soundscapes. The result of this new venture may be the most satisfying Four Tet experience since 2003's release of "Rounds."

Positively sneers with attitude. [Jan/Feb 2006, p.94]

Even with the occasional miss, the near-violent style-hopping is more than welcome where Rupture is concerned.

Despite running a bit long, this is clearly one of the year's better releases.

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.

While there's some experimentation with new ideas here, Jhelli Beam is familiar enough to leave Busdriver fans more than satisfied. Unfortunately, it's also unlikely to convert many newcomers to the cause.

One of the most rewarding and noisy records of the year. [Jan/Feb 2006, p.103]

It's Josh Reichmann and James Sayce's glam-shaded and '60s pop-tinged songwriting that really makes this record cook. [Dec 2005, p.105]

He possesses flawless rap skills, artiness, tasty hooks and smart production. There are lots of strong tracks, but his debut is highly enjoyable as a complete listening experience.

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

With Everything She Touched Turned Ampexian, not only has the frustratingly prolific Guillermo Scott Herren delivered a blinding banger of a record, he’s upped the game that appeared indomitable on 2003’s "One Word Extinguisher."

This is AM pop perfection that doesn't need a stamp of retro-cool to be timeless. [Mar 2005, p.111]