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]

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.”

The band is crisp and tight, with daring songwriting and arrangements. [Mar 2004, p.111]

Depeche Mode have produced another album fit to fill headphones and stadiums, leaning more towards a muted commercial than perverted side, but for 30-year veterans there’s really nothing wrong with that.

A simple pop prettiness mated with all lovie dovie. [Apr 2006, p.97]

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.

His throaty, gnarled vocals--best showcased on the meandering, Dilla-esque Cloudlight--lend his music a gothic mood. [Nov 2010, p.109]

For the completists. [Apr 2002, p.120]

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]

This is a considerably more ominous and hardnosed sound from former Can man Czukay than we've had in a while, and La Luna is more than welcome for it. [#77, p.126]

As sophomore albums go, Atlas is far from sophomoric. [Feb 2004, p.79]

The whole album is a spacey trip, and it acquires several listenings to be on their side. They're definitely not stagnant, but it's still a step back from their debut--not in time, but in appeal.

A curious but highly enjoyable mix of experimental beats and good old-fashioned guitar rock. [Jul 2003, p.92]

The Return shifts from the dusty, foreboding ambience created by Dan the Automator on Dr. Octagonecologyst into a contemporary world ripe with analog melodies and crisp, programmed beats. [Jul/Aug 2006, p.125]

Although the vocals initially may spark fears of self-indulgent been there’s and done that’s, the musical beast which duels with the lyrics stays on point and goes beyond the point in miraculous fashion.

The Prodigy was never about subtlety, but Howlett is stepping more carefully this time. [Oct 2004, p.104]

The result is in the vein of popcraft performers Phoenix, Air and others who occupy a great deal of the Astralwerks roster. [Jul/Aug 2006, p.132]

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

Like flicking through '60s AM radio's intermittent channels. [Sep 2006, p.138]

The Arctic Monkeys are not a bad band; they're just a band with catchy lyrics, summer blues riffs and an arsenal of runaway hits. [Mar 2006, p.112]

Campy, kitschy but always cool. [Mar 2005, p.119]

An album that hardcore fans will appreciate but isn't likely to help garner any new followers.

More distinctive than the arrangements, though, are Topley-Bird's utterly unique vocals. [Sep 2004, p.117]

Starfucker has crafted a solid, catchy, well-produced pop record that should have the hooks and emotional resonance to compete with most indie-rock contemporaries for lovesick teenagers’ iPod disc space.

Nothing lyrically spectacular or hip-hopfluential happens, but this release shows the sometimes troubled Sov finally putting the pieces together.

The Nashville crew's sound has slowly aged from alt-country to Stax-styled soul and now brooding ballads. [Jul/Aug 2006, p.122]

Come With Us will doubtlessly electrify their legions of fans and just as effortlessly enrage the condescending cognoscenti that loves to hate them. [#90, p.120]

An album as colorful as his stage show. [Apr 2006, p.96]