With the first release, Chemistry, you would think some experimentalism was going on--but it isn’t. That’s not necessarily a bad quality, but the lack of daring pushes this release into the mediocre pile.

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

It’s enjoyable as easy-listening, but there’s nothing about Climb Up that truly grips you. For that, APSE will have to exist in electro-rock mediocrity for the time being.

The music is fresh and rather hypnotizing.

Dalek is like a fine beer...it is an acquired taste, but once you get past that part, it is delicious. This is demonstrated well on Gutter Tactics, his newest release.

It goes down like a cold fresh glass of Jazzy Jeff and the Fresh Prince, circa 1988. [Sep 2003, p.102]

If you’re interested in Keating’s deck work or Lord’s acid rock breakbeat, their Black Ghosts mixtape will set you straight, but this partnership has manifested considerably deeper songwriting skills for both of these guys.

It simply doesn't satisfy. [#90, p.115]

Dystopia pop at its most intriguing. [May 2005, p.93]

Suffers slightly from pasteurized cheese. [Oct 2006, p.120]

The lyrics are largely uncomplicated musings about disastrous love and lust but the band manages to broaden its musical style without compromising its core identity. A solid next step in the band's evolution and not a bad listen either.

The album engages after repeats, but initially offers volume's immediacy over intimacy.

It's clear that we have a gifted songwriter on our hands. [Jul/Aug 2006, p.117]

There's a psyche-rock track with UNKLE on here, for chrissakes. But yeah, dude has skills.

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]

All good, but not quite great. [Apr 2004, p.85]

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

Her rhyming ability is versatile yet non-braggadocios. And it is these ingredients that gives the music world a fresh yet veteran voice.

Although at times the tunes become monotonous, the brother and sister group show that they’re going to be around for a hot minute, cranking out anti-Disney channel ditties in the name of all things punk.

Jel's cagey, chunky breaks interlace into stereoscopic head-nodding noir. [Mar 2006, p.113]

Sure, she may not have as many debauchery-tainted demons to exercise as the Winehouses or the Holidays but that doesn't make 19 boring. [Jul/Aug 2008, p.88]

Even though Prekop and Prewitt continue interlocking their guitars over spiny rhythms from McEntire and Calridge throughout the set, something doesn't quite click often enough this time around. [Nov/Dec 2008, p.87]

This girl's gritty production and fluid time signature shifts make for an intriguing listen. [Oct 2001, p.134]

NY's Finest shows glimmers of what Rock can do, but it's unfortunate the album came out before Soul Brotha #1 was warmed up.

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Emphasizes stripped down drums & bass. [Apr 2007, p.102]

Their sound has life, culture and tiny details that could only be developed from a wide variation of instruments and worldly inspirations.

Following a seven year gap between studio albums, Sacramento's CAKE is back with the compelling, yet inconsistent Showroom of Compassion.