Dependable? Yes. Beautiful? Definitely, yes. [Apr 2007, p.107]

Espoir is a strong start to a promising international musician’s career.

Next to the Eels and Atmosphere, eclectic and earnest self-examination hasn't sounded this interesting (not to mention entertaining) in a while. [Aug 2002, p.118]

On Varcharz, Mouse on Mars crank out 11 new tracks that, for better and worse, continue to expand the boundaries of abstract music. [Sep 2006, p.138]

At its best moments, the latest effort from Stars yearns for the flicker flame of "Set Yourself on Fire," but it is neither as gorgeous as nor is it as jarring a mixed bag as "In Our Bedroom."

Put [Monkey] on in the background and it'll sound good, but you won't necessarily notice it. [Apr 2002, p.126]

Her return to electro-pop form on Aphrodite–Minogue's 11th studio record in 23 years–is on point, maybe even better, than much of her discography.

Beauty comes in all forms, even if it might be over our heads. [Oct 2005, p.76]

These ornate, post-folk musings are bittersweet and beautiful. [Sep 2005, p.118]

A melodic minimal techno record that's sunny rather than stark, emo(tional) rather than eerie. [Jul/Aug 2006, p.129]

There are no absolute standouts as on past albums, but that is okay. Where Did The Night Falls is less concerned with purity of individual songs, and more focused on the audible aesthetics produced by its eerie experiments in sound. And for that, UNKLE has another winner on its hands.

The sisters Sierra and Bianca Casady plus a few guests (jazz pianist Gael Rakotondrabe, Argentine drummer Bolsa) improvise another trek through their active imaginations, doing whatever makes sense (or not) to them that day.

Should find a home on your iPod alongside Zero 7 and Brazilian Girls. [Jun 2005, p.85]

Mystics still has plenty of weird, shining moments to solidify the band's unique spot in rock, but the schizophrenia may leave you a bit jarred. [Apr 2006, p.84]

Bunyan's lilting ballads are as darling as ever. [Jan/Feb 2006, p.102]

Hecksher may not have Yorke’s falsetto or vast vocal range, but his delivery is sincere, almost as if each word is a plea to understand his expression. Hecksher’s melancholic state on The Mirror Explodes forces one to sympathize, and ultimately connect with each instrument as its own entity.

We're given a deeper record than some may've anticipated -- sonically, for sure--but more so The Very Best's debut stands up higher as document of seamless (and shameless) cultural convergence.

it is pretty much the same thing we all loved from Hercules and Love Affair. Does that mean this album is bad? No, it's fabulous. There was just no risk, no movement.

At 40-plus minutes, Dumb Luck gets out just when the getting is good. [May 2007, p.93]

Were the House of Gryffindor to stage a theatrical adapation of "Castlevania III," co-scored by Danny Elfman circa "Edward Scissorhands," it might sound like this fourth bobbing full-length by Iceland's glitchy naifs mum. [Sep/Oct 2007, p.129]

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

An ecelctic mess that will send purists of all stripes screaming bloody murder. You, of course, will love it. [Dec 2004, p.105]

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.

He delivers for fans of every persuasion without losing grip on his ghetto past in the least--no easy feat. [Dec 2004, p.112]

The music on this album is inspired and seriously sex-centric, repeatedly connecting politics with physical intimacy. [Apr 2006, p.82]

Thankfully, the results are still pure Blues Explosion. [Jan/Feb 2005, p.94]

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