An album full of budding promises. [May 2006, p.95]

Closer in spirit to Matmos' The Civil War than to any rap record, Ten dares you to let your inner child out to play. [Mar 2004, p.108]

Actions' unique and new-fangled deliverance of mostly acoustic and certainly threadbare beats see to it that Plan B doesn't fall into the grime or dubstep pigeonhole. [May 2007, p.97]

If his first album, Shadows on the Sun--one of 2003's best hip-hop releases--was meant to introduce Ali to his would-be fanbase, The Undisputed Truth--which sees Ali's life taking a total 180--seals the damn deal. [Mar 2007, p.97]

The tracks on Heart On don't veer from EoDM's favored subjects of Los Angeles fakery, sex, girls, sexy girls, and how they're gonna get sexy girls. But shit, that doesn't matter because they're sure as hell sticking to what they do best (with their trusty cow-bell, no less): they make you want to rock out and get your sleazy dance-on at some greasy bar with a PBR.

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.

Missiles is a true testament to meticulous sonic invention. [Nov/Dec 2008, p.85]

It's her way with a sexy synth beat that gives Ms. Peaches her succulence. [Jul/Aug 2006, p.126]

Basically, it's earnest, well-crafted indie with synths. [May 2005, p.86]

At times it can feel like the Flaming Lips locked in a log cabin with a bottle of morphine. [Sep 2005, p.119]

Pressure and Time is revivalist rock inflected with just the right hue of the now.

Hip-hop, soul, reggae and other influences are skillfully interwoven into a consistently strong whole.... An engaging, intelligent album. [#82, p.146]

Easily the best and most original album the Betas have ever made. [May 2004, p.84]

The first truly great album of the dance-punk movement. [Sep 2006, p.132]

I Feel Cream is pretty good but at the end of the day, it is a transitional album.

This album has a '60s folk-rock quality that's earnest, sweet and open. [Sep 2006, p.136]

The record is a winning release, if not entirely novel, and the sound of a likable band honing their sound while refusing, somewhat obstinately, to alter it.

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

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.

His vocal patterns on None Shall Pass are enthralling, but they mean absolutely nothing. [Sep/Oct 2007, p.127]

There's just enough rock spirit here to keep Recording A Tape... too weird for Barnes and Noble background music. [Dec 2005, p.104]

A mesmeric 45 minutes. [Mar 2006, p.122]

Junior breathes new life into an already overpopulated genre of glitch and synth stab fury.

Although there are moments where you wish for the upbeat, there is a solace to La Llama. For all of you non-spanish and catalan speakers out there, your mind is not forced to translate any of the words either, but simply inspired to enjoy the ride.

Short with no filler, Daggers isn't revolutionizing rock, but noticeably stands out among its sonic peers. [Apr 2006, p.88]

Too often Mr. Beast is dire sounding and dull, and nearing deadweight. [May 2006, p.86]

Even though love and religion may be his False Priest, Barnes can't escape their torrid ties, and despite the struggle being a lost cause, there is much cause to rejoice on of Montreal's tenth album.

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