Any track... could comfortably fit on any of their previous efforts. [Apr 2006, p.84]

Not exactly ironic hipster or fashionably cool... the end result, ironically, is damn cool. [Apr 2007, p.104]

The songs all come from a similar place, but a solid bass line and focused rhythm will always carry the day.

Unfortunately, lead singer Pall Jenkins's vocals are not as spectacular as the arrangements backing him. [May 2006, p.82]

[Heiruspecs] prove that they are definitely more than just Atmosphere's occasional back-up band. [Oct 2004, p.103]

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

Dead Drunk will leave you feeling as if you sucked on an exhaust pipe and chased it with crystal meth. [Apr 2006, p.97]

A Hundred Things also contains quieter moments that work surprisingly well for such a loud record, providing a much-needed respite from the nervous scramble of the rest of the album.

The music is supposed to feel representative of the big apple, but, aside from the song titles, this is a feeling I failed to really grasp onto. Thankfully this is probably the least important part, because after listening to this record a few minutes I realized how special it really was.

I'm inclined to say that they've reached a midpoint in experimentation where they can claim to be boundary-pushers and trendsetters, yet have done little in untried methodology, an undeserved sense of achievement.

Where Shadow ultimately sutmbles is on the britpop tip. [Oct 2006, p.116]

Is similarly turn of the last century electronic, but in a darker and less slice and diced way. [May 2005, p.92]

If you’re in the mood to get pummeled by simplistic, yet oh-so-effective samples and melodies, Cross does so better than most rocker-ready dance records. However, if you’re expecting to be saved by some next-level shit, this one’s not gonna cut it.

The perfect record to spice up your closet. If you're not coming out, you might as well have some sexy fun while you're in there. [Mar 2006, p.116]

Is Dead Man's Bones' record necessarily as accomplished as either of the aforementioned? Maybe not. But when one half of your band is splitting his vocations by also brandishing his face onto big studio pieces of celluloid, it's still a mightily impressive debut.

Emo/indie/pop rock for people who don't like emo/indie/pop rock. [Mar 2006, p.123]

A solid [re]introduction to the scene. [Sep 2002, p.106]

It's almost a relief when the album hangs up, like talking to a crazy and exhausting friend who didn't get the memo that we're all supposed to be zombie-d out like it's 1982 right now. [Dec 2002, p.88]

[A] time warp of an album, which takes us back to a future where grunge never happened, glam is god, disco balls sit atop the world and glitter falls from the sky. [Sep 2006, p.129]

Where Air's previous album failed to ignite like their classic Moon Safari, they have made some amends on Talkie Walkie. [Jan 2004, p.74]

There is a certain rhythm that begins to form with constantly being pulled along and feeling as though this will be the moment everything crescendos. Prepare yourself To Realize presents a Sisyphus-esque journey that can be exhausting.

Has more in common with Oasis than anything else. [Mar 2005, p.110]

Disarmingly intimate. [Dec 2003, p.87]

Each release generates one or two hits and is never regarded as a classic, but 4:21...The Day After may be an exception. [Sep 2006, p.137]

Opener 'Time to Pretend' exemplifies this best, as the synths provide quirky cartoonish bounces to tales of fancy car whipping and coke snorting pipe-dreams. However, the record grows sluggish at certain points, particularly when they try to get super sentimental on that ass.

The results... rarely match up with the legend. [Apr 2007, p.107]

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

For the most part, Dirty Vegas play up the notoriety by not straying too far from the template set by "Days Gone By." [Jul 2002, p.98]