To fans that listened to Rage as a means to get "pumped up" and bring the "mosh" you’ll probably be disappointed by the lack of work out music. But to the fans of Zack’s militant poetry, listen and enjoy.

A fluid transition is made into album closer Circulation, an exhilarating piece where the not-so-secret-weapon, drummer Moses Archuleta propels the band through the universe that's made Deerhunter's records so repeat-worthy; that place where reverbed typhoons are miraculously contained and space is somehow kept taut.

Black Milk, Guilty Simpson & Sean Price have that triple threat chemistry a la Jason Terry, Tyson Chandler & Dirk Nowitzki. Any album that makes you want to cop the instrumental version gives it legs and Milk has clearly emerged as one of the top producers in the game.

The Golden Age of Apocalypse has an extremely rich and cosmic-like atmosphere, making you instantly reach for the repeat button. Stephen Brunner is no more a sideman; he's a solid jazz cat that doesn't need to jerk off with his bass wizardry.

There's a quality of randomness on The W that prevents it from cohering as an album. But even if it's just a collection of songs, The W is undeniably impressive, packing the kind of gritty, aggressive anthems that have been notably missing from most of the recent Wu solo albums. [#82, p. 148]

All platitudes aside, I have to say that there is some filler - mostly packed into the album's second quarter where most artists tend to hide their more mediocre material.

No Age might be what you've been seeking this whole time. If you're just a music snob and pride yourself on some peculiar yet ostensibly good sounds, this is definitely for you's as well. If you're looking for something else, something that utilizes more traditional instruments toward a particular and thought-provoking sonic texture, I sincerely recommend mathematical rockers No Age as a band altogether and thus unreservedly their work on Everything in Between as well!

It's an unusual back-and-forth that delivers rapturous results on the seven piece band's sophomore record Own Your Ghost.

Maritime won't be able to distinguish themselves from others, but they have an amazing ability to create songs like "Tearing Up the Oxygen," which as a pop-play on words with a sense of realism. [Apr 2006, p.97]

Every song ends like a firework finale and fragile chords explain more about the human condition than words ever could. [Jan/Feb 2006, p.78]

Daedelus weaves his sounds into an intricate sonic tapestry that pleases the ears while stimulating the brain. [Jun 2006, p.110]

Muldrow’s wonderfully flighty reverberations allow the listener to grow, to mature with her, to continually learn and blossom and thrive through the music.

Worthy of being considered among the year's finest. [Dec 2004, p.106]

The jury's still out on if such obvious nods to commerciality will fly with their diehard audience. [Sep 2005, p.104]

There was a lot going on, but it's not until now... that El-P's music could actually be called full. So full that even silence weighs a ton. [Mar 2007, p.95]

In many ways, Twoism is more satisfying than their more difficult second album, Geogaddi. [Dec 2002, p.88]

The distorted pop ambience of Outside Closer could very well make these Brits the Notwist of 2005. [Mar 2005, p.118]

Quasimoto is Madlib at his most creative and compelling. [May 2005, p.83]

This long player is an ecstatic thrill ride through a world of comic minutia to tide FOTC's cult fan base over until their second season resumes after HBO's typical year and a half gap. [May/June 2008, p.92]

Nothing stays as it seems for long, but the dense ethereality they've created with Narrows definitely leaves a lasting presence on even passing listeners.

Swanlights is seemingly effortless - the mark of a master at work.

Expect to see this album on 2006 Top 10 lists. [Oct 2006, p.118]

Clocking in at 21 tracks, Felt 3 has room for just about everything: a bunch of skits, battle-rap anthems, story-telling (dark and lighthearted alike), and, somehow, the energy of a young Rosie Perez is maintained throughout.

Beyond doesn't break any new ground, but... it's as refreshing as anything you're likely to hear all year. [May 2007, p.93]

While Molina's songwriting varies little from album to album, her songs are so strong that this is not necessarily a weak point. [May 2006, p.88]

This'll retain its heat only until everyone's heard it. [Apr 2004, p.88]

The band recalibrates toward rock structures but doesn't ditch the textures and sound experimentation of the recent past, resulting in songs with sonic depth and focus. [Sep/Oct 2007, p.129]

Electronic pop rarely sounds this beautiful and human. [Sep 2006, p.136]