It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Even though Prekop and Prewitt continue interlocking their guitars over spiny rhythms from McEntire and Calridge throughout the set, something doesn't quite click often enough this time around. [Nov/Dec 2008, p.87]

[Contains] scattered but affecting shots of brilliance. [Oct 2006, p.117]

Musically, this record definitely shoots what it was aiming for, but I wouldn't listen to it unless you are, or want to be, severely depressed or disturbed.

Tobacco’s jagged, unconventional sounds aren’t easily pinned down, and therein lies their appeal.

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]

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

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]

Prefuse 73 has defiantly asserted himself as one of the most important artists of his generation, ignoring boundaries and creating a landscape that recognizes hip-hop's original "anything goes" ethos. [Apr 2005, p.99]

His latest outing, Afterparty Babies, doesn't derail that path, but it struggles to stay on course.

No boredom here. [Jul/Aug 2005, p.108]

One almost has to listen closely to take notice of Devotion’s every last little benumbed intricacy but it’s as rewarding as it is tantalizing.

[A] blend of wobbly slide guitar chords and simple, steamy beats. [Nov 2006, p.128]

An astonishingly relevant album. [Mar 2006, p.112]

Whereas past Wu albums have been scorned for their filler, Meth, Ghost and Rae leave plenty on the chopping block this time around, only allowing the best of the best to make the cut on Wu-Massacre.

Haines has... shown glimpses of a broken and beautiful solo artist just waiting to tell her story. This, my friends, is that breakout album in spades. [Oct 2006, p.122]

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

Producer Ethan Fawn's dynamic overlays of crisp, factory-stomped melodic lines carry Glass's unintelligible lyrics straight to neon-lit nausea heaven.

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

Watersports sets itself up nicely for some critical acclaim, and its multi-genre versatility will make it easy for people of all musical tastes to find something to enjoy.

Major Lazer have never been bashful about appropriating musical styles where ever they find them; every song they make seems to be trying to remix the entire global street culture all at once. On Lazers Never Die they manage to duct tape all their influences together into a fun, listenable package.

At the end of the day, I'm Gay (I'm Happy) proves that he is a much better artist (and role model) than anyone was led to believe.

Among the most engaging albums of the year. [Jul/Aug 2005, p.108]

Numbers are getting by on an awesome sound more than an awesome song. [Oct 2005, p.79]

Die-hard fans may not like the style change, but I think it’s a step in the right direction.

Now far denser than disassociated, this is Ladytron at the group's most masculine.

Simon Green stands with a select group of musicians who have been consistent in both quantity/quality output of this type of introspective music. Bonobo's Black Sands is an album that should not be missed and is undoubtedly one of the most superior releases of this year.