More Libertines than Franz Ferdinand, the Futureheads deftly move away from being pigeonholed and reward listeners with a complex album of pop gems. [Jun 2006, p.111]

This quirky little record shouldn't lose any old fans and may just gain her a few new ones. [Apr 2007, p.108]

His vocal patterns on None Shall Pass are enthralling, but they mean absolutely nothing. [Sep/Oct 2007, p.127]

Although this album is an improvement from his previous work, to fully understand this album (and his work overall), you must see him live.

Though varying little from past Tyde albums, Three's Co. is a welcome tribute to summer. [Sep 2006, p.139]

Builds upon the familiar grab bag with the addition of a trippier, more psychedelic vibe and high-profile, pop-minded guest vocalists. [Mar 2005, p.114]

While not up to par with either of their previous albums, Bee Hives is certainly a pretty, if uneven, addition for fans. [Jul/Aug 2004, p.124]

This madcap comp is a blast. [May 2002, p.120]

Good guilty pleasure music. [Oct 2005, p.76]

Treasure's aggressive style deftly balances Cad Petree's more melodic side, and sees the band straddling the line between insistent, hard-hitting rock and Coldplay-esque balladry. [Nov/Dec 2008, p.87]

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

Scale slips into un-passionate, boring territory--in part due to the vocalist, who make sthe whole thing sound somewhat homogeneous. [May 2006, p.86]

Beans and Subtitle are especially fitting on vocals, since both are as loopy as the beats. [Sep 2004, p.115]

Songs are succinct yet maintain an eye for layering oblique, eccentric detail of almost prog proportions. [Jun 2006, p.111]

Quite boring. [Jul/Aug 2006, p.125]

A refreshing batch of summery, carefree downtempo songs. [May 2004, p.85]

The blues stomps have been muted, and none of the 11 songs are her own. [Oct 2005, p.110]

An odd album... this might well have been called Badly Drawn Boy: The Musical. [Oct 2006, p.117]

Bunkka has the savvy and brass tacks to challenge even the Jedi master of music/marketing synergy, Moby. [Jul 2002, p.97]

While the new songs don't reach that across-the-board crossover appeal, there are some synthed-out gems that get a proper unveiling. [Nov/Dec 2008, p.86]

While Kesto's sweeping scope is impressive, this long-player is best reserved for cold winter evenings and late-night introspection. [Jul/Aug 2004, p.126]

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

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]

With the Pixies re-run now seemingly over, it's good to hear the "other Deal" project back in full effect.

So while the music on this disc might not inspire a wave of followers and imitators like his Pixies days, Thompson is clearly having a lot of fun cranking out his latest batch of rock ‘n roll surrealism.

You love your iPod, so you'll like this album, at least the Bowie-esque parts. [May 2005, p.92]

Their micro-programmed folk has worn thin due to imitators. [Jul/Aug 2005, p.107]

Whether live or memorex, it's really hard to tell the difference between the two, especially on excellent if-it-ain't-broke tracks like 'Fake ID' and 'Doing it Right.' [Sep/Oct 2007, p.130]