This album is an ideal response to claims that electronic music has no soul. [Apr 2005, p.100]

Distracting at times is Thomas’s voice--he seems to take pride in being purposefully off key--but breezy opener “Girls FM” and later the low key “Eyes Music” calm his shrieking affinity and keep him just where he needs to be; melodic.

When Machines Exceed Human Intelligence is the perfect musical equivalent to our relentless dependancy on technology.

He finally seems to be combining alll of his varied interests into a complete package more substantive than his earlier, smark-alecky adventures. [Mar 2004, p.108]

The freshness that figured into De La's previous four albums feels a touch staler here. (#78, p.116)

If you are a serious Groove Armada fan you will love it or hate it, I doubt there will be an in between. If you are just a music lover who is really digging the way electro and indie sounds have come into their own in the last few years than this is definitely for you.

While its hardly an overwhelming masterpiece like Blue Lines or Protection, it still stands head and shoulders above most everything else. [Mar 2003, p.95]

Imagine Four Tet with a band instead of a laptop and you're getting close. [Jan 2004, p.78]

An enjoyable switchback ride through instrumental post-rock riff-making and full-on angst-ridden rocking out. [May 2005, p.87]

This time the focus is on tight songwriting, sudden chagnes and an edgy velocity that's never too dense. [Jan/Feb 2006, p.79]

With the Pixies re-run now seemingly over, it's good to hear the "other Deal" project back in full effect.

Like much of the dark electronic pop that's come before WhoMadeWho's latest, the drive behind the music is the key to success.

Better than his debut. [Jun 2006, p.105]

This album showcases the fact that every member stepped up to this creative challenge. A thoroughly enjoyable departure until we hear from Jack and Meg.

Far from sloppy seconds, the album's both imminently enjoyable and a valuable glimpse into the creative process of one of hip-hop's most accomplished producers. [Apr 2006, p.88]

Droppin’ Science Fiction, the debut project from hip-hop supergroup The Mighty Underdogs, is one of the strongest underground hip-hop albums to come out in a long time.

Painfully unexciting. [Mar 2006, p.122]

A simple pop prettiness mated with all lovie dovie. [Apr 2006, p.97]

While filled with warm analog electronics and is borderline ambient, Thomas manages to execute it in a tasteful way.

Fragile in its struture, the album is stunningly precise and hauntingly familiar. [Sep 2006, p.131]

A sublime success. [Jul/Aug 2005, p.103]

Although theFREEhoudini won’t have MTV calling or cause die-hard fans of a Busta Rhymes or a Jadakiss to check Themselves out on tour, it will satisfy the duo’s following and provide a taste of what’s to come on their upcoming album, "Crownsdown."

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

Perhaps unintentional by the authors of the music, BMSR triumph in crafting a nuanced and aesthetically superb effort. Their music is wholesome and sounds delicious enough to eat, what a treat!

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

Although Abe Vigoda was fun and games when they first started, they show true courage in their new music.

Their precise work is only weakened by 2 anemic post-punk tracks, but 9 out of 11 ain't bad. You should expect to hear a lot more from the duo in the instant future.

Their arrangements are tidy as ever and the disc's energized pop sounds like it came together on the stage rather than the studio. [May 2007, p.97]