Despite some other choice cuts, there’s no cohesion to hold it together.

Taken as a whole, the album does have a certain cohesiveness that’s lacking in most dance “albums” but many of the tracks fail to break new or interesting ground, and it leaves one wishing their potential of last summer could’ve been realized.

Distracting at times is Thomas’s voice--he seems to take pride in being purposefully off key--but breezy opener “Girls FM” and later the low key “Eyes Music” calm his shrieking affinity and keep him just where he needs to be; melodic.

Trash, Rats and Microphones is tailor-made for the contemporary electro-crazed (dance like tomorrow ain’t promised) landscape.

With partner Panda One, they unleash a concoction of soul, electronica and disco that’s occasionally bizarre, but consistently funky.

Japanese Motors’ debut is a solid dose of garage pop, but chances are, it won’t change your life.

Certainly a nice full-length, though it would be interesting to see what a vocalist could add to their formula . [Jun 2004, p.86]

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 sincere winner. [Mar 2006, p.123]

Sol-angel and the Hadley St. Dreams boasts Thievery Corporation at the production helm, giving little Knowles' album a sophisticated sonic texture of jazzy pop, lounge inflections, and brassy drama.

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]

No boredom here. [Jul/Aug 2005, p.108]

The album certainly excells when the faux-accent is beaming British. When it isn't, the album can grow monotonous but overall, Brain Thrust Mastery keeps the trash smelling absolutley delightful.

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]

It’s a welcome return to “vintage” Stills, after an attempt at stylistic departure (2006’s "With Feathers") was met with lukewarm critical reception.

All in all, it seems like the diva needs a little drama to get it percolatin'. [Mar 2006, p.123]

If nothing else the lyrics are rich, although it gets tiresome to hear song after song of psychedelic fairytales over spaced out chimes and strings.

Having waited four years for this new record, Faint fans anticipating a return to the throbbing mechanical heart of darkwave and disco will not be disappointed.

What may be most surprising here is that the Allstars have dipped their toes into the previously uncharted waters of pop songs. [Mar 2002, p.116]

In the clubs, Baby Monkey will find a welcome family. [May 2004, p.87]

A strangely satisfying pop record. [Jan/Feb 2006, p.92]

[Contains] scattered but affecting shots of brilliance. [Oct 2006, p.117]

Maritime won't be able to distinguish themselves from others, but they have an amazing ability to create songs like "Tearing Up the Oxygen," which as a pop-play on words with a sense of realism. [Apr 2006, p.97]

It's unfortunate that "Interscope Jackson" spends so much time here trying to ply believable tough talk--highlights arrive when Fiddy embraces his current, lavish lifestyle.

Like all exploratory trips, sometimes he has prophetic visions and sometimes he just rolls around a lot. [Oct 2002, p.94]

Yet Jamie T is a pop nihilist, to the degree where his lackadaisical lyrical knack, indolent hooks and skeletal beats give the listener a peep into what it truly means to be the average, youthful bloke.

Orbital's swan song is a welcome addition to an epic, if uneven, catalog. [Oct 2004, p.104]

A few tracks bump, but for the most part, Lord Jamar's production couldn't make punks jump up, much less get beat down. [Sep 2004, p.114]