[An] excellent multi-genre plateau. [May 2005, p.84]

The Bachelor is quite a journey with a clear direction and theme. Wolf is going through an inner struggle and seeks to find a resolution.

Nasty and raw. [Jan/Feb 2005, p.97]

Their tried and true formula does wear thin in parts, as it always does, but there are enough creative wrinkles in this album to warrant repeat listens and contemplation.

So while Born This Way for the most part is great, I just don't think she's at her peak musically yet.

Solid... the album definitely hits its marks. [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.

Drawing on ’70s disco and ’80s electro pop for the 12 tracks that make up The Fame, Gaga writes deluxe ditties that compel the listener to “Just Dance.”

Talib seems to be coasting just a bit on this cut-and-paste session. As in, from a pure musical standpoint, outside of a few of repeat-worthy tracks, Gutter Rainbows, is no cure for your current cabin fever.

Think early Blur, without the cynicism. [Mar 2006, p.112]

Time and place be damned, this is a good record, but it will never be anyone’s favorite.

The two mini-albums are both successes in vastly different ways, but they are especially effective as testaments to the versatility and adventurousness of Zach Condon.

Has all the signs of a band of epic, pop potential. [Jan/Feb 2006, p.94]

Adult. is cathartic cabaret for the sketched out. [Apr 2007, p.101]

If you're in need of hype, and think Oasis are too old and lame anyway, and the Arctic Monkeys are just kind boring, maybe you need... the Klaxons. [Apr 2007, p.106]

The perfect balance of sleaze and smarts. [Jan/Feb 2006, p.95]

Signals something of a rebirth of their signature creativity. [Jul/Aug 2004, p.123]

The real beauty lies in how Iceland's dynamic conditions are mimed in minimalist clicks and cuts, and overlapping swashes of snapping drums, sparkling piano and acoustic guitar. [Jul/Aug 2004, p.124]

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]

Dystopia pop at its most intriguing. [May 2005, p.93]

Sadly, Camu Tao passed on before he had the chance to fully craft his magnum opus and one has to applaud the decision to let the world hear what is and what could have been.

Sure, a couple of songs may seem to end a bit abruptly, but most of the opportunities you want them to take--they take.

The disc's most memorable moments come in the musical ideas left abandoned. [Sep/Oct 2007, p.130]

Most of Creature Comforts is hypnotic, if hardly soothing, noisemaking. [Jul/Aug 2004, p.124]

Tittsworth should be proud. 12 Steps is, at its end, a mighty accomplishment for both its maker and his genre.

Pure pop strangeness, thankfully, getting even stranger. [Mar 2006, p.113]

Good Evening is unbelievably catchy and vintage but at times is weighted down by its own obscurity, sometimes becoming far too much background noise and not enough of an active listen to provide enough distinction between tracks.

Still clenching its beloved Americana, BRMC spits a familiar noise that has transformed from a mountain of stifling volume into a dense layering of sophisticated references. [May 2007, p.93]