Finds them recapturing the magic. [May 2005, p.92]

Somewhere between Matmos and Ariel Pink, this is wickedly out there. [Sep 2005, p.110]

Very simplistic in melody and progression, each track on 200 Million Thousand is a tube-driven, distorted mess, complete with classic Brit-punk vocals. Twangy and overdriven guitars are matched with screams and pissed-off vocals full of attitude, creating a highly energetic punch, reminiscent of a Black Lips live performance.

More light = more fun. [Mar 2007, p.101]

Now far denser than disassociated, this is Ladytron at the group's most masculine.

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

Clearly he's been listening to much Jeff Buckley... as Strangers throbs with that familiar bluesy bombast. [Mar 2005, p.112]

Short with no filler, Daggers isn't revolutionizing rock, but noticeably stands out among its sonic peers. [Apr 2006, p.88]

A really freaky, fun ride into eclectism. [Nov 2002, p.94]

Eugene McGuinness is a time traveling disc where Eugene blends his creativity with sounds of the past. And although this may have not been intentional, it is somewhat still appreciated.

A couple tracks may become short-lived flings, but for the most part, the pleasure to be had from Temporary Pleasure will not be short-lived.

This glorious racket... has a beating, hideous heart to it. [Oct 2005, p.76]

The Roots' energy is claustrophobic and thus, jaded. It still has a prominent place on Game Theory, but when it's not subdued, it's downright bitter. [Sep 2006, p.142]

This well-engineered album's ideas have been gestating a little too long. You might just say it's the best album of 1998. [Sep 2001, p.152]

A mesmeric 45 minutes. [Mar 2006, p.122]

An atmospheric and sophisticated album from a promising songwriter. [May 2007, p.93]

The freshness that figured into De La's previous four albums feels a touch staler here. (#78, p.116)

A post-electronica, post-rave production that jettisons genres and cherishes uncut creativity. [Jan/Feb 2007, p.77]

A very dark album, yes, but Raposa's ability to convey much with little usually results in a fragile and gloomy beauty rather than mopey dreck.

Despite the dead weight of his guest MC, Quik delivers a package full of heat. Nothing new or ground breaking, just good old fashioned West Coast party bounce.

Mirror Conspiracy's thoughtful drum programs hardly become drowsy or monotonous... Unfortunately the occasional lyrical overdose also leaves some tracks seeming a little too light. [#77, p.130]

Though sometimes bordering on earnest kitsch... the bulk of material plays out as inventive reconstruction. [Mar 2006, p.114]

Lif's strengths as an MC make his tight narrative focus on the protagonist's plights palpable. [Sep 2002, p.104]

A churning, droning, sickly sweet nouveau-electro trip. [Nov 2002, p.94]

Surprisingly sophisticated for a collection of shouty-pouty ballads from a trio of 20-year-olds. [Dec 2005, p.98]

Unlike the first record, which relied on Temple alone to fill out the layers of the songs, Pigeons utilizes the full band, and improves because of it. The songs are better composed, and more interesting: the experimental bits, which were a bit of a distraction, are more focused and purposeful.

This album showcases the fact that every member stepped up to this creative challenge. A thoroughly enjoyable departure until we hear from Jack and Meg.

Doom still holds some secrets, but his lyricism and feel for the funk sweat out of the this album as much as any of his previous, if not more. He clearly shows that he is here to stay, and if anyone was expecting change, they are looking in the wrong spot.