Switching, flexible, rug burn reverberation. Of Montreal’s pretentious compound syllables titillate mind and body, catcalling strangers walking down the street you imagine naked, whose vocabulary is as ripped as the holes in their shirts.

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.

Every moment on Broken Bells is necessary. James Mercer and Brian Burton, in this highly personal project, have nurtured a carefully multilayered array of pleasant sound with slow-moving vocals that capture the best of the worlds of both these talented artists.

Akin to classic Detroit techno in the way it delves deeper into the machines and technology to find the humanity at their core.... In 2002, Underworld has outpaced the competition and released the electronic album to beat. [Sep 2002, p.99]

The colors of the view, the hill, and the sky blend into one swirling colorful, confusing masterpiece. Just when you begin to think you might reach overload, you land cleanly on the ground, on your feet. You just listened to Alien in a Garbage Dump.

Ray Guns Are Not Just the Future is a pop gem for the young at heart and proof that the duo possesses the serious musical talent needed bring their whimsical musical visions to life.

Comes as an especially welcome jolt after their last wishy-washy effort. [Mar 2005, p.110]

Brazilian Girl has the ability to give audiences a world band sound because of its mixture of different languages and live band sound. It also has a certain level of pop appeal.

An undeniably good record. [May 2007, p.95]

A reminder of artists like the Breeders. [Mar 2006, p.122]

Taken as a whole, the album does have a certain cohesiveness that’s lacking in most dance “albums” but many of the tracks fail to break new or interesting ground, and it leaves one wishing their potential of last summer could’ve been realized.

A fabulous freeform fiesta of punky reggae and funky dance-pop. [Mar 2002, p.120]

Expansion Team reveals Dilated Peoples to be a straight-up hip-hop group, for better or worse. [Nov/Dec 2001, p.136]

More Libertines than Franz Ferdinand, the Futureheads deftly move away from being pigeonholed and reward listeners with a complex album of pop gems. [Jun 2006, p.111]

Fans of Death Cab and the Postal Service might notice a similarity between Angelakos' and Ben Gibbard's vocal styles. The six song EP features light, airy synths grounded in subtle new wave and pop grooves.

10 tracks of pure seamless joy.

I'm inclined to say that they've reached a midpoint in experimentation where they can claim to be boundary-pushers and trendsetters, yet have done little in untried methodology, an undeserved sense of achievement.

Beatwise, Playtime culls Wiley's best dubs from the last year, with tracks like 'Bow E3' and '50/50' flexing textbook mastery over grime's sludgy polyrhythm.

Tristeza is different with their orcestrated style. [Jan/Feb 2006, p.103]

Haughty Melodic should find Doughty a new legion of listeners while sating his faithful followers. [Jul/Aug 2005, p.101]

At worst, A Strange Arrangement has a couple lulls; at best, it’s one of the most enjoyable records of the summer. Highly recommended.

It's nice that a singer/songwriter can fit comfortably on a label known for abstract techno and heady hip-hop. It's not so great when she sounds like Dido. [Apr 2005, p.109]

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

A sincere winner. [Mar 2006, p.123]

All the songs are so glassy, beautiful and seemingly perfect.

His fiercest, finest record. [Feb 2003, p.94]

Doesn't fit comfortably into either the current musical landscape or the leftfield. [Mar 2004, p.109]

Listeners hoping for a radical departure from previous outings may be disappointed to find that the disc doesn't necessarily break new ground... [Sep 2001, p.152]