Gleefully uneasy listening. [Feb 2004, p.82]

Departs from the most interesting moments of his past work and thankfully st-st-st-st-stays there awhile.

An impressive artistic debut. [Oct 2002, p.96]

Unyielding in its murkiness, but all the while strangely accessible, it is a generous full-bodied offering handed to us by these otherwise blurred figures.

This is XTC times Elvis Costello plus the finest moments from the Americana greats and then some. [Apr 2005, p.108]

Lush, engaging and quirkily accessible. [Apr 2005, p.102]

Additional collaborations with Sean Lennon, Cibo Matto, The Mooney Suzuki and The Yeah Yeah Yeahs, solidify Naturally as a sure summer listen from two gents who never really go wrong.

Eclecticism has always been the strength of the Chemical Brothers and with their seventh studio album Further they continue to develop musically.

He sounds darker and more menacing than ever. [Oct 2004, p.105]

It's the challenge of hearing Amanda claw her way through relentless electro barrages in an effort to deliver her heartfelt lyrics, that makes tracks like 'DJ' or the melancholy 'Leaving You Behind' (which is assisted by Lykke Li's haunting vocals) some of the most unexpectedly personable material to come out of Diplo's party-centric clique.

This could be a great album with some gentle editing and condensing. Many of these songs cannot support the weight of 8 or 10 or 12 minutes, although the extended length seems to be nearly the whole point of this album.

French Kicks have smoothed out the jagged guitars and off-kilter rhythms... in favor of a cleaner, more understated sound. [Jul/Aug 2006, p.120]

A perfectly pleasant and unoffending offering. [Mar 2006, p.116]

Swift is likely to turn some more heads with this one. [Mar 2007, p.101]

Their efforts are ambitious and commendable, but it seems like it will end up as one of those albums that may captivate you for a couple weeks--but will eventually be ousted from your recently played.

There may be no safer bet than an Amanda Palmer’s bleeding-heart album--her built-in fan base will eat it up the same way they voraciously devoured Tori Amos’ open wound a decade ago--but the Palmer Show is strong enough to sustain much more daring theatrics than what’s given here.

The studio noodling on Roots & Crowns sounds fittingly organic and effortless. [Oct 2006, p.117]

The path to orchestral bombast continues on So Divided. [Dec 2006, p.118]

Although their name might seem like a stretch when requesting at your local record store, this album is worth a purchase.

No build-up is too big, no feedback too catartic as this wall of sound is topped by the rising sun. [May 2006, p.94]

Putnam's longing voice and rusty guitar strum easily envisions a rustic dwelling, yet their studio strengths reveal a Pink Floyd fetish. [Jun 2005, p.85]

The boys have yet to prove their worth with the tender, mellow bits... and one can't help but wonder how strong Favourite Worst Nightmare would have been as simply a full-throttle, adrenal-tapped EP. [May 2007, p.92]

New Magnetic Wonder cloaks itself in a glow of irrelevancy. But beneath, Schneider's gooey power-pop thrives. [Jan/Feb 2007, p.76]

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

Somewhere between the Plimsouls and The La's, this should keep your top down throughout the summer. [Jul/Aug 2005, p.109]

Intimacy offers the most ideas that Bloc Party has ever put on display. Skip the first two tracks and you'll find more hits than misses.

Pressure and Time is revivalist rock inflected with just the right hue of the now.

Their wall of sounds with lush keyboards and itchy guitars still fire strong. [Nov 2003, p.92]