The production is fantastic, De La go in with the lyrics and Flosstradamus tied everything together perfectly though.

When there are moments, they strike and wittingly pull bodies off seats. [Oct 2001, p.128]

Rich in imagery and suggestive of enviroment -- arctic, urban and mental -- Pan Sonic chisels a sound contradictory in its makeup, utterly synthetic and metallic yet somehow deeply organic. [#82, p.144]

Eccentricity is what defines Grampall Jookabox and their sophomore effort Ropechain, but that doesn’t make it any less listenable. In fact, Ropechain has its fair share of fine musical moments that actually benefit from the bizarre tendencies of the group.

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

Builds upon the familiar grab bag with the addition of a trippier, more psychedelic vibe and high-profile, pop-minded guest vocalists. [Mar 2005, p.114]

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

While not up to par with either of their previous albums, Bee Hives is certainly a pretty, if uneven, addition for fans. [Jul/Aug 2004, p.124]

It’s the type of strung-out confession that fills the junkie mold of classic Bright Lights Interpol--a welcomed revival after the wayward Antics.

A refreshing batch of summery, carefree downtempo songs. [May 2004, p.85]

Skimskitta is starkly personal, increasingly hermitic, resulting in only a handful of immediate rewards. [Mar 2003, p.94]

Is not a very interesting album for a number of reasons. [Jun 2003, p.94]

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]

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.

The signature post-rock and cleverly monotonous Stereolab aesthetic is still present, and continues to be refreshingly innovative.

They effortlessly knock out the kind of poignant, electronic-tinged anthems that would have had a 1997 Thom Yorke dancing with joy. [Mar 2004, p.109]

The music is fresh and rather hypnotizing.

Terrific tunes. [Apr 2005, p.102]

Her eponymous debut is the closest thing to “Betty Davis Eyes” or “Stand Back” recorded for our generation, and yet it isn’t nauseatingly retro.

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 is one groovy, swinging collection fans of all ages can dig. [Apr 2006, p.86]

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."

Dance Mother is musical pixie dust illuminated by a warm neon glow. There is a great sense of magic and wonder in Telepathe’s music, their chirping, fairy-like, multi-tracked vocals providing a feeling of childlike awe.

The guys seem like they want to prove they are not just a regular dance band, and in that way they succeed, even including a spoken word piece about one’s concern of the great unknown ('Fear of Death').

A few of these tracks feel more like unfinished sketches than completed songs, but if it's sparse folk-noir you're after, why? delivers the goods. [Aug 2003, p.90]

A fantastic reminder of the visceral power of hard-stomping, neck-snapping techno. [Jul 2002, p.100]

Photek has always been about his drums more than his bass, so it doesn't surprise that some of the tracks on Solaris are more techno than jungle. But vocal house? (#78, p.115)

Emo/indie/pop rock for people who don't like emo/indie/pop rock. [Mar 2006, p.123]