Despite the fact that the album is largely a deconstruction of masculinity vs. feminity, Yo Majesty isn’t afraid to tone the sex down to hop on the progressive tip. 'Never Be Afraid' displays the cosmic gospel of Jwl B. However, this retreat into tamer territory isn’t indicative of weakness; chalk it up to what is actually a significantly well-rounded and versitile rap duo.

This is what Nelly's Brass Knuckles is best summarized as...a club jam.

Thankfully this album is only 10 tracks long, otherwise I don't think I could have sat all the way through it. I had trouble enough as it is.

This balls-out, hard stoner rock will get you to pump your fist in glory. [Apr 2006, p.97]

Alternately gritty and bouncy beats by Organized Noize and DJ Sleepy can't quell the sensation of attending a school reunion minus the quarterback. [Jun 2004, p.85]

With a handful of good moments, and one standout track, this sophomore effort by one Sally Shapiro and her producer Johan Agebjörn, is mediocre.

Jay Kay sounds more vital and energized than he has in a few albums. [Sep 2005, p.108]

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

The Return shifts from the dusty, foreboding ambience created by Dan the Automator on Dr. Octagonecologyst into a contemporary world ripe with analog melodies and crisp, programmed beats. [Jul/Aug 2006, p.125]

Galore sounds like the stock "empowering dance pop" library compilations that music publishers bombard film music supervisors with.

These ornate, post-folk musings are bittersweet and beautiful. [Sep 2005, p.118]

T.I. vs. T.I.P. does continue T.I.'s pattern of finding great production and then sounding really cool on top of it.

Having waited four years for this new record, Faint fans anticipating a return to the throbbing mechanical heart of darkwave and disco will not be disappointed.

11 tracks of classic ambient house and melodic decks and EFX exercises. [Sep 2004, p.116]

At 40-plus minutes, Dumb Luck gets out just when the getting is good. [May 2007, p.93]

The album bristles with a new urgency. [Sep 2003, p.100]

Entertainment resurrects the group. Their music disconnects, only to connect again.

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]

This is the sound of five British lads wanking about, unsuccessfully attempting to write ballsy yet progressive sounding rock/punk anthems when their musical calculations are painfully transparent.

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

Sometimes the '70s feel gets feeling hella silly. [Mar 2007, p.96]

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.

As emo-tastic as Threes is, it merely sizzles in ways their debut singed. [Oct 2006, p.128]

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

The developed avant-jazz compositions stand out just fine, but with all their consequential underpinnings, Herbert and the band are swinging on all levels.

CocoRosie has this fantastic ability to infuse humanity into their drum machines, and the warming result carries The Adventures to marvelous heights. [Apr 2007, p.102]

Marks a new high for Bianchi as a studio guru. [Oct 2005, p.78]

We Can't Fly is over the top, trying to embrace everything Vito De luca ever loved about radio, or all the music he ever loved, period. It's a cosmic mess of styles and guests. People who are fans of his DJ sets will not feel at home in this setting, with no crowd pleasers except for the title track.