With positive vibes along the lines of fellow Brits The Kinks, Konk flows cohesively and is easy and pleasant to listen to all the way through (which is very hard to say for most full-lengths in this era of hit singles).

The Game pairs that unabashed love with swirling ideas and concepts that elevate the record to an easy contender for album of the year.

Love 2 is a pleasurable and satisfactory record, one where every track provides just what’s needed and sets the stage for a new composition to step in and carry the beats to their finale.

This time, he's truly on some next shit instrumentally and vocally. [Nov 2004, p.98]

Once the headphones are in place, it becomes apparent that the Frenchman has indeed pulled off another masterful work. [Mar 2005, p.111]

Levi seemed to have a great idea for Never Never Love, but didn't execute it as well as he possibly could have; so in practice, the record does not flow as well as he may have liked it to.

Kozelek can make even the most lively of songs one strum shy of a death rattle. [Jan/Feb 2006, p.103]

The most palatable Mike Patton project to date. [Jun 2006, p.113]

It might be difficult to differentiate after nine full-lengths, but Mixed Race may be the least engaging album we've heard from Tricky to date.

More of the breezy, lo-fi indie pop that aligns Mark in the Elephant Six canon of pretty-pretty flights of fancy. [Mar 2007, p.101]

An impressive artistic debut. [Oct 2002, p.96]

Notwithstanding a few guaranteed pop hits, the new album will probably leave most dance diehards cold... the album's dance cuts stick to the typical sampling-and-looping aesthetic that's been a bit tired for a while. [#79, p.123]

Was it a signature-sound effort, or a further exploration of their film score work on "Breaking and Entering" or Danny Boyle’s 2007 sci-fi film "Sunshine?" These two worlds collide beautifully.

As strong as volume one, Hebden and Reid's finale to their improvised sessions is worthy of an encore. [Jul/Aug 2006, p.124]

More style than substance. [#104, p.95]

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

It does all go a bit Sheryl Crow occasionally... but the darker clouds remain. [Oct 2006, p.117]

Sure it's not as deep, dubby or listless as Charango, but this album is equally suitable for the late-night comedown. [Oct 2005, p.79]

Hammond, Jr. paints an awfully pretentious portrait of a dude caught playing with his best friend’s b-sides.

While Hello Everything is everything you'd expect a Squarepusher LP to be, therein lies the problem: It's exactly everything you'd expect a Squarepusher album to be. [Oct 2006, p.130]

Boratto’s focus remains on approaching the line of excess without tipping over. And once again he stays on the wire.

The duo’s debut does not reinvent the wheel, but Thunderheist delivers a fun, funky dance set that should offer at least a few surprises.

Upon first listen, the crew miss the mark with the unfortunate single, "If You Want It," a trainwreck attempt at a new audience. However, there is nary another song on the album so reprehensible. In fact, there are at least 5 cuts that will have many of you reaching for your disco biscuits and hoping for a Skytel page with the coordinates of an epic warehouse sweatfest.

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.

Combined, you have the best blotter soundtrack ever. [Jun 2005, p.78]

Finds a band in utter denial of what is precisely its appeal. [Sep 2006, p.143]

Sam's Town is bloated with verses that helplessly swipe at capturing something, anything, significantly American. [Oct 2006, p.129]

So dark and twisted that it makes Joy Division seem like shiny happy people. [Mar 2004, p.110]