Throw in some straight, viscerally melodic vocals and a few cool, smart, electro-pop and digi-funk sing-alongs and you have a classic four-song EP--if not an entire album. [Sep/Oct 2007, p.129]

They've delivered highly re-playable 13 song study in the G blues chord's progression, spanning '50s hillbilly rock, '60s garage and '70s glam and punk. [Sep/Oct 2007, p.129]

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]

His vocal patterns on None Shall Pass are enthralling, but they mean absolutely nothing. [Sep/Oct 2007, p.127]

The now-three-piece group proves they haven't lost their ability to blend superb pop hooks with dance beats. [Sep 2007, p.131]

Although the majority of the album is not that memorable, it is pretty damn warm and infectious.

Yet Jamie T is a pop nihilist, to the degree where his lackadaisical lyrical knack, indolent hooks and skeletal beats give the listener a peep into what it truly means to be the average, youthful bloke.

Her most anticipated follow-up is again the most cross cultural jam you'll hear this year. [Sep/Oct 2007, p.129]

The disc's most memorable moments come in the musical ideas left abandoned. [Sep/Oct 2007, p.130]

What begins brillantly gets dismal to the point where it lacks the eclectic Cajun spice, a taste definitely required to stew up a truly heady gumbo. [Sep 2007, p.128]

Finding Forever, Common’s spectacular seventh full-length, isn’t 'The Bitch in Yoo,' but it is his hardest release since.

Lyrically, Khan really cuts loose, switching from everyday matters to sinister fantasies, often during the same song, and all with extraordinary confidence.

Far better than the Cranberries in retrospect. [Sep/Oct 2007, p.131]

Magic Numbers have pushed their abilities while keeping their strong points on performance and substance. [Mar 2007, p.100]

If we're to accuse Chemical Brothers of anything, it's trying to set a lofty new bar in the style they themselves created, and that no one else seems to be working anymore. [Sep/Oct 2007, p.128]

It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.

It’s the type of strung-out confession that fills the junkie mold of classic Bright Lights Interpol--a welcomed revival after the wayward Antics.

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.

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.

Icky Thump is a fearless album, braving a bold bunch of weird rock transformations: slick studio radio glam, southern jukebox boogie, Scottish Highlander mandolin jaunts (!!), stuttering mariachi machismo, comedic skits, etc.

The few standout tracks are in the beginning, making the rest of the album sound like a monotonous waste of your time. [May 2007, p.94]

Any notions of the dreaded sophomore slump disappear seconds into their new album It’s a Bit Complicated.

Every song on the 52-minute masterpiece builds and bridges until everything self-destructs and the only thing left to do is dance. [May 2007, p.92]

An undeniably good record. [May 2007, p.95]

Emphasizes stripped down drums & bass. [Apr 2007, p.102]

Their arrangements are tidy as ever and the disc's energized pop sounds like it came together on the stage rather than the studio. [May 2007, p.97]

Its tracks work together to form a cohesive, incredibly personal whole. [May 2007, p.91]

Everything Last Winter loses itself slightly in the oversaturated field of worthy emulators, the record could find its place soundtracking the ABC drama you call a life.