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

Everything Goes Wrong is not a brazenly experimental album, nor is it rootless and shifting for cohesion.

Super Sound makes up for any lack of focus with attitude and a prevalence of splendid, melodic pop. [#81, p.120]

You'd have to hate life not to eat this long-awaited, sugar-coated anthology up. [Mar 2007, p.98]

Can get a bit monotonous and boring, but besides that a moody, grinding listen. [Mar 2006, p.123]

The rest of her songs on Anjulie are really hit and miss. Some are catchy enough to enjoy, others are boring enough to forget about.

Light a Candle is a rhythmic and refreshing soundtrack to adventures through tropical and summery locales.

Beast Moans has the sound of self-produced rough cuts, mastered so treble-heavy and synth-garbled that it'll never actually feel like a finished record. Which is exactly the appeal. [Nov 2006, p.139]

Everywhere At Once, LB's Anti-debut, is also a practice in nostalgia--but it's decidedly more me-centric in execution. [Mar/Apr 2008, p.109]

They definitely know their way around the early Duran catalog, not forgetting the requisite stops at New Order and the Psychedelic Furs. [Apr 2005, p.101]

This is not just academic and abstract music for the headphone philosopher, but proper soulful stuff that will rock more adventurous dance floors. [Aug 2003, p.90]

It's a lot of wicked, loud noise, and if that's your thing, this is your record. [Jun 2004, p.84]

It's an album crying out for one ounce of originality. [Oct 2004, p.103]

From the Cradle to the Rave has a high cool factor, almost too cool; perfect for any semi-ironic hipster party.

[A] brilliantly arranged debut album. [Oct 2005, p.84]

Fans of Bubba's previous Southern-inspired offerings will delight in these extra helpings. [Mar 2006, p.122]

A solid record of contagious melodies and dance-tastic beats. [Jul/Aug 2004, p.125]

The problem is that all this pop-happy acoustic strumming lacks the awkward warble of Bright Eyes or the destructive heartbreak of Elliott Smith's music. [Mar 2007, p.101]

Banks leads his dark orchestra with aplomb on Interpol's most cohesive effort since Turn On The Bright Lights.

If you bought Daybreaker, stop! You're done. [Dec 2003, p.89]

Drukqs is the most sincere album [James] has released since 1995's I Care Because You Do. [Nov/Dec 2001, p.131]

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

Overall, this is an interesting departure from their work in the past, but hopefully, Darker My Love won't continue to drift further from the sound for which they are known.

The songwriting here is stellar enough to overshadow the caustic manner in which Sam Merrann screams simply for the sake of screaming. [Mar 2006, p.119]

If American Supreme showed up today as the product of youngsters, Suicide would be called electro-clash. [Dec 2002, p.92]

An ecelctic mess that will send purists of all stripes screaming bloody murder. You, of course, will love it. [Dec 2004, p.105]

The few standout tracks are in the beginning, making the rest of the album sound like a monotonous waste of your time. [May 2007, p.94]