If you bought Daybreaker, stop! You're done. [Dec 2003, p.89]

Their vocals sound more unenthused and bored than detached or sinister. [Sep 2003, p.101]

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

A high-spirited whoosh of urgent dance pop and groovy psychedelic bop. [Sep 2003, p.102]

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]

Phantom Power is pretty much your perfect experience, certainly alongside some jazzy cigarettes and a nubile lovely. [Oct 2003, p.84]

This is not just academic and abstract music for the headphone philosopher, but proper soulful stuff that will rock more adventurous dance floors. [Aug 2003, p.90]

The party album of the year has arrived. [Aug 2003, p.87]

A few of these tracks feel more like unfinished sketches than completed songs, but if it's sparse folk-noir you're after, why? delivers the goods. [Aug 2003, p.90]

The crew's 1982-ish rhyme schemes and vapid lyrics reach new lows. [Oct 2003, p.85]

A curious but highly enjoyable mix of experimental beats and good old-fashioned guitar rock. [Jul 2003, p.92]

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

It goes down like a cold fresh glass of Jazzy Jeff and the Fresh Prince, circa 1988. [Sep 2003, p.102]

The band seems more comfortable in the studio than ever. [Aug 2003, p.88]

Just feels stiff and over-produced. [Aug 2003, p.88]

The most inspired batch of caffeine-fueled and jumped-up party favors you'll hear all year. [#104, p.95]

All it takes is a spin of their high-steppin' full-length debut to realize that these ladies are worthy of the praise. [Sep 2003, p.101]

A diverting listen. [Jun 2003, p.94]

The extended running time of Young Miss America starts to act against Lafata toward the full-length's end. [Jun 2003, p.93]

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

It's a raucous rave-up of arena rock riffs over funky disco beats, the kind of freaky dance-rock jams that belong on the jukebox in every gay biker bar in America. [Jul 2003, p.91]

The camp is still there, only now there's a newfound confidence (not to mention skill level) that make this one a winner. [Aug 2003, p.90]

Simultaneously builds and deconstructs the strides made with Pause, resulting in an even more organic blend of quiet but muscular compositions. [Jun 2003, p.93]

Incessantly innovative, it's charming as hell for about the duration of a sidelong glance. [Aug 2003, p.89]

It's less angular than Fear of Fours but just as convincing--tiny music that thinks very, very big. [Jul 2003, p.93]

Still more for headphones than headspins, but offering plenty for the heads. [#104, p.96]

Far from forgettable, Black Cherry falls a bit short of the sum of its parts but is valuable for its more daring numbers. [#104, p.96]

Easily one of the best albums of 2003. [Jul 2003, p.94]