This albums isn't as infectious as "You're A Woman, I'm A Machine," but who cares? Grainger didn't make it for DFA fans. [Nov/Dec 2008, p.85]

The record exudes a childlike exuberance in the early going, before descending into a Shadow-esque gloom. [Jul 2003, p.93]

What gives [Strength In Numbers]... the sound of a band landing its proper second stride is the hiss and grind that churns docile compositions into studio-kissed wonders. [Mar 2007, p.97]

The Looks shows off MSTRKRFT's deep understanding of making people move. [Jul/Aug 2006, p.125]

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

More! is filled with playful, soft and dynamic production, but instead of having a fluid album format, it feels a little inconsistent. And an unnecessary and dated vocal feature from Yello on "Divine," weakens the whole flow and picture.

It's hottest moments are tepid at best. [Feb 2004, p.77]

Overall, Sexor has four great tracks and 10 cuts that run the gamut from passable to forgettable. [Sep 2006, p.140]

Overall, Listening Tree is all about Tim, and his deep closeted skeletons and inner demons, which are far too abstract to be even remotely relatable or fun to sweat it out to their exorcisms.

If you are looking for a good party in your...well, pants, then Pants' new album Welcome is the one for you.

Once you're name-checking Supertramp and ELO as major influences, it's pretty much over. [Aug 2002, p.114]

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

Wolf’s elastic compositions straddle the line between a multitude of genres without making it sound forced. Widely respected as one of the best drummers on the indie scene for years, Josiah Wolf has deftly proven he has the chops to stand on his own.

This timeless band may have taken some nods from M.I.A., Bloc Party, Hot Chip and even Bonde Do Role to keep up with 2008--or not--but they continue to soar high on some genius sonic whimsy, making The Dream a truly commendable offering.

Stripped down, home cooked goodness. [Jul/Aug 2005, p.109]

The more things change, the more they stay the same. Whether this is in fact always true is quite debatable, but with Miss Kittin teaming up with The Hacker once more for Two, it seems as though they’re as strong as ever.

Another befuddling album that offers what seems to be a gigantic middle finger bookended by disrupted toe-tappy pop numbers. [Oct 2002, p.96]

Beside their standalone sharp sensationalism, 'Heavy Heart' and 'The Band Marches On' breast a melodic acuity that begs to be ripped and shredded into anthemic dancefloor permutations.

If The Bran Flakes managed to cleverly juxtapose their weird samples against each other in order to make a satirical point, maybe they'd get a pass. However, most of the tracks come off like two kids selfishly goofing off in the studio with long lost gems of nostalgia from their childhood.

Espoir is a strong start to a promising international musician’s career.

Quicken The Heart has allowed Maximo Park to showcase all their strengths, some harder, more distorted anthems, and some gentler, livelier ballads.

It all adds up to the effect of watching American Graffiti while plugged into a morphine drip. [Jul/Aug 2005, p.105]

Walk It Off does offer a few highlights, but it fails to yield a comprehensive sense of T&T's sound, and blatantly lacks any cohesive progression.

Despite the fresh reworking, tracks like "For An Angel" and "Another Way" retain the heartfelt with synthetic, catchy cores that made them such beloved trance anthems in the first place. [Mar 2003, p.99]

At seventy-eight minutes, Emotional Technology gets a bit long in the tooth, but you get the feeling that the myriad streams of sound that pass between (and through) his ears have finally nestled together in a grandiose manner he envisioned. [Sep 2003, p.99]

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.

A sprawling, ambitious 18-track effort that's hardly the cash-in it could've been. [May 2002, p.115]

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