Jump Leads mixes up so many tasty ingredients -- vocals, live instruments, a lysergic meltdown of beats -- that it could be the album that sees Cobby and McSherry getting the acclaim they deserve. [Mar 2002, p.115]

Stripped down, home cooked goodness. [Jul/Aug 2005, p.109]

Marks a new high for Bianchi as a studio guru. [Oct 2005, p.78]

Combined with newly found experiences, newly discovered self-awareness and newly refined skills, By the Throat catches this almost-forgotten duo at a new height of the pair's combined powers. Well worth the wait.

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

While Molina's songwriting varies little from album to album, her songs are so strong that this is not necessarily a weak point. [May 2006, p.88]

Regardless of how the totality of Splazsh sounds to you--whether it's five tracks and 15 minutes too long, or a perfect hour-or-so long piece of programmed paradise, there's a lot to respect about Actress' confidence as a producer.

Doves succeed in giving fans their fix of new music that sounds fresh without altering the formula so much as to alienate any of their devotees.

This isn’t exactly a new Wu album. Just think of it as a nice experimental side-project--one that’s 10 times better than their last major one.

A classic rock-influenced masterpiece of horny fun. [Apr 2006, p.84]

Takes her dirty white girlisms to an even more profound yet still salacious place. [Nov 2003, p.89]

They throw light on their shadowy melancholia, resulting in positively euphoric tunes. [Mar 2005, p.111]

From the tip to full metallic thrust, Dan Auerbach and Patrick Carney slap and caress romantic lyricism deep into the tunnels of harmonic structure, curried by Brian Burton’s (aka Dangermouse) rollicking production.

Experimentation and metamorphosis--of sound and of character--are the paragons of this alter ego, and RZA seems to be swimming in both these days. All the pieces fit, and when RZA goes Voltron, he’s at the top of his game.

Los Angeles is a beautifully complex and widespread full-length from one of LA’s most creative and perceptive music producers.

While the album won’t produce any converts or even revive interest in the band’s newer music among purists, it’s an enjoyable, self-assured collection of jangly guitar pop tunes that sounds guided by the group’s own creative compass instead of fickle fans’ expectations.

CocoRosie has this fantastic ability to infuse humanity into their drum machines, and the warming result carries The Adventures to marvelous heights. [Apr 2007, p.102]

It's a raucous rave-up of arena rock riffs over funky disco beats, the kind of freaky dance-rock jams that belong on the jukebox in every gay biker bar in America. [Jul 2003, p.91]

The Looks shows off MSTRKRFT's deep understanding of making people move. [Jul/Aug 2006, p.125]

Muldrow’s wonderfully flighty reverberations allow the listener to grow, to mature with her, to continually learn and blossom and thrive through the music.

A stunning debut. [Apr 2006, p.96]

Photek has always been about his drums more than his bass, so it doesn't surprise that some of the tracks on Solaris are more techno than jungle. But vocal house? (#78, p.115)

An overdue look into one of Scotland's most underrated bands. [Dec 2006, p.116]

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

If you are looking for a good party in your...well, pants, then Pants' new album Welcome is the one for you.

A near-masterpiece. [Sep 2004, p.117]

The guys seem like they want to prove they are not just a regular dance band, and in that way they succeed, even including a spoken word piece about one’s concern of the great unknown ('Fear of Death').

A late-night dorm room essential. [Oct 2005, p.84]