Ol'boy touches the listener deep on the inside with the polished shimmy of Motown and the greasy strut of Stax tipping his hats to the likes of Otis Redding, Sam Cooke and kJackie Wilson. [Mar/Apr 2008, p.107]

Not exactly ironic hipster or fashionably cool... the end result, ironically, is damn cool. [Apr 2007, p.104]

While this record may have cast the veil of melancholy over a chunk of its tracks, the noticeable difference should be welcome to fans old and new.

While the production throughout the album is very strong and cohesive (guitar, drums and some piano taking care of most errands), the vocals might prove otherwise.

One of his better releases this year. [Oct 2006, p.122]

The Television Personalities show that they are still running strong on ideas and originality. [May 2006, p.91]

A lush, relaxing listen. [Jan/Feb 2006, p.103]

Political agenda with raw AC/DC chords. [Dec 2005, p.105]

This duo can only be measured against themselves and for the first time, it don't measure up. [Sep 2006, p.139]

It’s far from perfect, sloppy and trance-like, but feels suffused with a blast of inspiration the musicians simply had to get out.

Far from forgettable, Black Cherry falls a bit short of the sum of its parts but is valuable for its more daring numbers. [#104, p.96]

Metallic Spheres, a collaboration with electronica legends the Orb, represents his boldest and most satisfying footnote to date.

Adult. have fully realized their vision with a sound that's more alive and panoramic. [#104, p.95]

This is an album that seeks to push boundaries, and succeeds. [May 2004, p.84]

They finally deliver on the big promise everyone saw in what they might do with the raw sounds of that first LP. [Jan/Feb 2008, p.102]

Like a walk through an alternative music encyclopedia. [Jun 2006, p.113]

Sol-angel and the Hadley St. Dreams boasts Thievery Corporation at the production helm, giving little Knowles' album a sophisticated sonic texture of jazzy pop, lounge inflections, and brassy drama.

While CrownsDown is a damn fine album that comes off as a more mature, refined rendition of Them, only time will tell if Themselves have created their own classic. Still, it should silence the cynics.

This record is a beautiful testimony to passionate and heartfelt emotion with Warden’s dynamic voice being the seductive centerpiece.

The songs have parts that are memorable but your finger is always on the advance button. Overall, pretty good but could use some editing and improvement.

Earnestly sung lyrics in the vein of Jack Johnson or John Mayer, 80s-style instrumentation (percussion, guitar licks, synths), and constant rhythmic switch-ups are elegantly crafted. This album isn't boring, it's just too polished for the raw sounds and styles it draws influence from.

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

If nothing else the lyrics are rich, although it gets tiresome to hear song after song of psychedelic fairytales over spaced out chimes and strings.

Incessantly innovative, it's charming as hell for about the duration of a sidelong glance. [Aug 2003, p.89]

Because the sound is based on repetition, yet it bounces off every wall it touches, the album can be like a bad trip inside the mind of a schizophrenic and new listeners may not be ready, but for the others who’ve supported the band in the past, it can be a welcome respite from the sound they’re used to.

For those who used to throw parties, but now have dinners, Kings Of Convenience will bring desert and a bottle of expensive red wine. [Oct 2004, p.103]

The perfect soundtrack for a late Sunday night. [Jan/Feb 2005, p.96]

The refreshing thing about bands like Cut Copy is that they're consistent. Far too often do artists change direction throughout their careers and sometimes lose touch with that thing that made us all fall in love with them in the first place, but this isn't the case with Zonoscope.