The developed avant-jazz compositions stand out just fine, but with all their consequential underpinnings, Herbert and the band are swinging on all levels.

Fey and whimsical, these songs are challenges that reward. [Apr 2006, p.96]

Don’t get it twisted, the Kidz have dumbed down--but they’ve smartened up just as much.

While it may be Moby's darkest record yet, Wait For Me should, at very least, serve as an optimistic sign that Moby's independent creative juices are still flowing.

Truelove’s Gutter is a winner for his fans.

You would think that all this grandiose genre-juggling would play out like a collection of songs, but it all works well together and plays like a cohesive album.

While almost as good as that first Dooom album, only time will tell if this sequel can become another timeless classic in the Kool Keith catalog.

Whether it’s Mark’s influence, or Kinky’s own growth over the years (or maybe both), this album has universal appeal and its party-ready, rich sound is one that would be a shame to pass up.

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.

Do not sleep. The lush soundscapes of the vivid and fascinating world of Paul White await.

Beck at his best. [Apr 2005, p.100]

So dark and twisted that it makes Joy Division seem like shiny happy people. [Mar 2004, p.110]

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.

It is rare to come across an album encapsulating various musical stylings and still boasts coherence and a pleasurable pop listening experience. The Portland-based quartet Hockey achieves that balance on its debut studio album, Mind Chaos.

A band/sound that could easily have been a flash in the synth-pop revival pan has actually proven itself worthy of revisit , over and over again.

Frankly, this record makes me wish I could snort bass lines through my ear holes. [Apr 2006, p.84]

Instead of avoiding the comparisons, Sean Lennon succeeds by reveling in the kind of pop that runs through his family's genes. [Oct 2006, p.124]

At once apocalyptic and born again. [May 2007, p.96]

A few cuts ('Big N Bad,' '54321' or 'Step') don’t succeed in showcasing her talents as well as the rest of the album, but Ultraviolet succeeds in bringing together older Kid Sis favorites with new material, and--most importantly--is just a really fun party record.

Tittsworth should be proud. 12 Steps is, at its end, a mighty accomplishment for both its maker and his genre.

Simultaneously builds and deconstructs the strides made with Pause, resulting in an even more organic blend of quiet but muscular compositions. [Jun 2003, p.93]

Thirty years into their collaboration, Underworld's Rick Smith and Karl Hyde continue to sit at the forefront of dance music innovation. Barking is just further proof that Underworld isn't going anywhere.

A sprawling, ambitious 18-track effort that's hardly the cash-in it could've been. [May 2002, p.115]

It's all synths, moogs and bass kicking away like a fusion funk machine. [Sep 2004, p.117]

[A] solid sophomore effort. [Nov 2004, p.98]

If IDM is that pudgy guy with the thick glasses who won't shut up about Buffy The Vampire Slayer, Gold Panda is the shy boy in the corner that somehow gets the coolest girl at the party to make him breakfast.

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.

[An] excellent multi-genre plateau. [May 2005, p.84]