Just some progressive musicians being…progressive. O Soundtrack My Heart is not for everyone, and that’s not a bad thing.

Dissolver is a serviceable pop-rock record that would have benefited from being subject to more of the band’s experimental tendencies, a missed opportunity for the trio to release a cutting-edge yet accessible set of music.

Like Stereolab backed by the Muppet Babies. [Jun 2006, p.114]

Sensuous goes so far beyond the borders of radio-friendly melody that it's hard to recognize the Cornelius of bygone days. [May 2007, p.93]

In Alpinisms, School of Seven Bells have themselves one of the year’s most intoxicating debuts.

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.

Zero 7 have perfected the formula for folk jazz that transcends definition and defies classification, always taking you on joyous rides that often end at a truly unexpected place. [Jun 2006, p.108]

So while the music on this disc might not inspire a wave of followers and imitators like his Pixies days, Thompson is clearly having a lot of fun cranking out his latest batch of rock ‘n roll surrealism.

A group this weird and quirky should be able to produce dozens of albums that never loose their delicious twee taste. Perhaps what FF should try next is trying nothing at all.

Despite the scattered feel of the album, its individual components are undeniably solid and easy to listen to.

A bewitching brew of triumphant introspection that, while not unprecedented, is still plenty personal. [Mar 2003, p.95]

This album is truly an odyssey where if a picture paints only a thousand words, these songs can paint an entire film.

Positively electric. [Sep 2006, p.143]

M83's new effort saunters like a slow dance from "Sixteen Candles." [Mar/Apr 2008, p.109]

The songs heave with shockingly real energy. [May 2005, p.85]

It's a raucous rave-up of arena rock riffs over funky disco beats, the kind of freaky dance-rock jams that belong on the jukebox in every gay biker bar in America. [Jul 2003, p.91]

It's a mix of contemporary hardcore and vintage Squarepusher where he never lets things settle, scrabbling away with sublime and obnoxious results. [Sep 2001, p.152]

Wiry, tense, post-No Wave dispatches. [Oct 2004, p.102]

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.

Fish Outta Water is a very strong project.

Worth the wait, Knowles West Boy provides a uniquely varied soundscape from an equally enigmatic musicmaker. [Jul/Aug 2008, p.87]

Genetic World finds Telepopmusik vying with Zero 7 and Naomi as the next legendary collective. If only they'd lose tracks 6 and 7. [Jul 2002, p.102]

For those who've wondered what The Who's rock operas would sound like if rerecorded by Captain Beefheart and Stevie Nicks, it's time to break the rules. [Oct 2004, p.103]

Atlantis will rock your body--if you open your mind. [Jan 2007, p.79]

While the new songs don't reach that across-the-board crossover appeal, there are some synthed-out gems that get a proper unveiling. [Nov/Dec 2008, p.86]

Takes her dirty white girlisms to an even more profound yet still salacious place. [Nov 2003, p.89]

Quite boring. [Jul/Aug 2006, p.125]

Get Awkward showcases a sound reliant on the push and pull between a band whose middle ground is fun.