Finds [Bachmann] in a maudlin mood. [Apr 2005, p.108]

A high-spirited whoosh of urgent dance pop and groovy psychedelic bop. [Sep 2003, p.102]

The sounds here aren't quite what people are going out of their way to find these days, but these songs stick around for more than just a casual listen.

In a case of not fixing what isn't broken, they return with a veritable cornucopia of crossover-ready collaborators eager to see if lightning can indeed strike twice. [Jul/Aug 2004, p.127]

The record exudes a childlike exuberance in the early going, before descending into a Shadow-esque gloom. [Jul 2003, p.93]

The Streets' novel pairing of dance music and wordplay hits the mark more often than not, and it's a step in a potentially interesting direction. [Nov 2002, p.93]

Fine song craft and distinct vocals still shine. [Mar 2006, p.122]

This record is too flat. [Jun 2006, p.119]

Solid... the album definitely hits its marks. [Apr 2005, p.102]

I Feel Cream is pretty good but at the end of the day, it is a transitional album.

Haughty Melodic should find Doughty a new legion of listeners while sating his faithful followers. [Jul/Aug 2005, p.101]

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

With production skills that some say are comparable to Madlib and the late J Dilla, we can say, overall, his cutting-edge sound makes Out My Window lovable, fostering the mood of a carefree summer day.

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

An album that blends genres and forms to spawn a rare breed of funky breakbeat-inspired rock.... Unfortunately, the vocal collaborations with the likes of Jon Spencer, Bobby Gillespie, and Martina Topley-Bird are a bit ill-fitting and disappointing. [#79, p.124]

While it almost goes without staying that every band’s aspiration is to ingeniously pique the interest of their listeners by reinventing old elements and coupling them with new and creative tones, it seems this record’s goal is not necessarily to go without saying, but say it all in the fewest possible breaths.

With The Odd Couple, Gnarls Barkley is unable to come up with anything containing as much pure pop power as their hit song "Crazy," but it's certainly not for lack of trying.

It's her way with a sexy synth beat that gives Ms. Peaches her succulence. [Jul/Aug 2006, p.126]

While Subtle remains as challenging as ever, there's less exhaustion in finding the nugget, for a record that finally capitalizes on the potential of Subtle's raucous live performances. [May/June 2008, p.94]

Why is it so easy to cling onto certain bodies of work and wish for each subsequent effort to bear resemblance? Well, the easy answer is because both of these men are very good at telling specific types of stories.

Overall it's a great promissory note to the world, and a view of what's to come in the dance world. If anything, all I can hope for are more divas and fewer bros dominating the scene.

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.

T3's iconistic delivery and Elzhi's endearing and logistically strong raps hold it down, and collaborations shine brilliantly. [Jul/Aug 2004, p.126]

Eyes at Half Mast is music for self-reflection, the perfect soundtrack to those long, introspective drives through silent city streets.

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

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.

In small doses (songs, verses, lines), Aesop's latest is a brutally great argument that hip-hop's new-new-new-new-new-school is as creative as its oldest. [Nov 2003, p.88]

An album that masks its bite with sounds of familiarity and demonstrates Thibodeau's uninhibited emotion with full-scope 20/20 vision