Beck (Sea Change) and Coldplay (Parachutes) already made the exponentially better versions of this album. [Jun 2005, p.76]

The songs heave with shockingly real energy. [May 2005, p.85]

Basically, it's earnest, well-crafted indie with synths. [May 2005, p.86]

No boredom here. [Jul/Aug 2005, p.108]

Kindness sounds like the work of someone given one month to live, as Snaith lays down dozens of musical ideas into an album that will constantly keep you guessing what's next. [May 2005, p.84]

Haughty Melodic should find Doughty a new legion of listeners while sating his faithful followers. [Jul/Aug 2005, p.101]

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

Pierce has broken down another barrier between elusive genius and sheer pleasure. [Jun 2005, p.79]

You love your iPod, so you'll like this album, at least the Bowie-esque parts. [May 2005, p.92]

They still manage to inject their manic bursts of beats with gentle, even sweet melodies immersed deep in the cacophony. [May 2005, p.84]

Terse bass and faux-African rhythms that recall [the Talking Heads]. [May 2005, p.93]

They posses a talent for identifying the raw, emotive aspects of sound and speech in random statements and simple chord progressions. [Apr 2005, p.101]

Terrific tunes. [Apr 2005, p.102]

Solid... the album definitely hits its marks. [Apr 2005, p.102]

Dystopia pop at its most intriguing. [May 2005, p.93]

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

Beck at his best. [Apr 2005, p.100]

They definitely know their way around the early Duran catalog, not forgetting the requisite stops at New Order and the Psychedelic Furs. [Apr 2005, p.101]

With an awe-inspiring imagination in tow, Edan drops his own distinct magical mystery tour. [Apr 2005, p.101]

Sigel spills enough raw emotion on these top-shelf beats to make Ghostface Killa shed a tear. [Jun 2005, p.85]

The highlight of this album is Blueprint's pensive, jazzy landscape of strangled horns and muddy synths. [Jan/Feb 2005, p.94]

M.I.A.'s singsong cadence is both child-like and streetwise, perfectly mirroring the smiley-faced menace of the electro-informed palpitations behind her. [Mar 2005, p.113]

Silent Alarm doesn't just maintain Bloc Party's post-dance-punk appeal, it blows the fucking lid off. [Apr 2005, p.100]

This is XTC times Elvis Costello plus the finest moments from the Americana greats and then some. [Apr 2005, p.108]

The frustrating saving grace is a bonus disc of fluid, pain-killing Brian Eno pastiche. [Jun 2005, p.75]

Every song is a keeper. [Apr 2005, p.103]

Prefuse 73 has defiantly asserted himself as one of the most important artists of his generation, ignoring boundaries and creating a landscape that recognizes hip-hop's original "anything goes" ethos. [Apr 2005, p.99]