Oizo’s latest effort easily becomes the pitch-perfect soundtrack to an epic night out, reminding us that these cats across the pond know exactly how to make electronic music seem both strange and familiar, music that practically anyone can enjoy.

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

Sure, the album title is about as random as their name and the way they originated, and yes, their sound is a crazy jumble of gritty, primal punk rebellion, but not for one moment does it not work. Openly stated, they have their shit together--no pun intended.

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]

A schizophrenic journey into the mind of a man who clearly embraces myriad genres. [Oct 2004, p.103]

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

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

Black Milk, Guilty Simpson & Sean Price have that triple threat chemistry a la Jason Terry, Tyson Chandler & Dirk Nowitzki. Any album that makes you want to cop the instrumental version gives it legs and Milk has clearly emerged as one of the top producers in the game.

Stainless Style is impressive for so many reasons--'Raquel,' dedicated to Miss Welch; hearing crunk meld with Italo Disco; a Yo Majesty cameo--but it's the utter lack of irony that steals the show.

The album clocks in at nearly an hour but not one second is used in vain since Spirit’s campfire harmonies and leftfield spurts of drum cymbals go into vortexes that makes time stand still altogether.

None of the pairings are out of place. [Mar 2007, p.99]

[A] funk dub electro carb-filled gem. [Sep 2004, p.117]

Sharon Jones & the Dap-Kings are back with their fourth album I Learned the Hard Way. It’s another authentic, heart-felt album filled with heartache and daily struggles.

Tristeza is different with their orcestrated style. [Jan/Feb 2006, p.103]

Submersive, almost submissive. [Jul/Aug 2006, p.118]

With this charismatic effort, Sandman has proven to be the audio equivalent of creeper weed.

Though straightforward, the song structures are detailed and ruffled. [Jun 2006, p.110]

Its tracks work together to form a cohesive, incredibly personal whole. [May 2007, p.91]

The only aspect that prevents this album from achieving flawless cohesion is the fact that each track sounds so distinctly different, so much that it’s almost a chore to readjust to the new sounds one is bombarded with from track to track.

Every single solitary track on this record maintains a cohesive vibe that will keep listeners cruising in their rides until they run out of gas; or weed, which ever comes first.

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]

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]

Just some progressive musicians being…progressive. O Soundtrack My Heart is not for everyone, and that’s not a bad thing.

All platitudes aside, I have to say that there is some filler - mostly packed into the album's second quarter where most artists tend to hide their more mediocre material.

Amazing Grace holds its place in the ever-evolving sound of one of the most momentous bands of the past decade. [Oct 2003, p.86]

The harmonies resonate and the melodies hook into your skull. [Jul/Aug 2005, p.109]

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

Tommy excels because there is no one correct way to describe the music. Using everything from Afrobeat to IDM, Dosh does it all; yet, he manages to find a way to make the entire project cohesive.