Some of the most evocative music of this century. [Dec 2002, p.97]

Equally adept with paradiddles and software plugins, these digital-age surrealists have birthed a musical hybrid all their own. [Nov 2003, p.100]

The result is aural perfection. [Feb 2003, p.68]

[Jurado] may be our generation's Neil Young. [Apr 2003, p.78]

Shimmeringly beautiful and richly unpredictable. [Mar 2003, p.92]

Giraffe hums with the kind of lush, emotive pop New Order were making circa Power, Corruption and Lies. [Mar 2003, p.94]

Lound insanity is sexy; quiet insanity is sexier. [Sep 2003, p.118]

A sonically cinematic experience that will leave the listener feeling at once elated and emotionally drained. [Aug 2003, p.94]

Beautifully melodic, quietly clever and painfully smart. [Jul 2004, p.136]

Absolution's chaotic choruses feel like the triumphant culmination of some earth-shattering undertaking. [Jul 2004, p.146]

Experienced, acclaimed groups rarely make albums as bold and confrontational as Stankonia, because they have too much to lose. OutKast don't care.... The Atlanta duo coalesced the political and societal challenges of hip hop's past into what is one of the genre's most artistically unortodox releases so far. [12/2000, p.108]

With Crimes, the Bloods have built the sturdiest bridge between the hardcore underground and indie-rock elitists. [Nov 2004, p.144]

A career-arching centerpiece. [Nov 2004, p.154]

Give[s] Skyward In Triumph and Earth 2 a run for the title of Best Album By A Duo, ever. [Jan 2005, p.113]

Like all great albums, De-Loused in the Comatorium takes multiple listens to absorb, and, even then, you're probably not going to have a clue to what Bixler's raving about. [Jul 2003, p.107]

Indestructible is the document of a band retaining their energy and refining their vision to be honest to themselves and their fans, while spitting venom in the eyes of their detractors. [Oct 2003, p.115]

It's the beautifully austere, grown-up pop album we've been waiting years for Mac McCaughan to record. [Jun 2003, p.97]

Rarely have they sounded more comfortable with themselves. [Oct 2003, p.116]

This is Calexico at their finest. [March 2003, p.86]

Masterfully crafted torch songs, coated with a thin layer of orchestral gloss and trip-hop beats that stand out as unique. [May 2001, p.64]

Kozelek's unique arrangements and breathtaking melodies set him far above his contemporaries. [#154, p.93]

Vapor Transmissions is a hymnal for brave new citizens who have adopted The Matrix as a religion while using artifice as deception for their sinister subtexts. [#146, p.81]

The duo have crafted a disc that grafts underground rawness (garage rock, no wave, electro, classic '80s goth) to their taut dance grooves. [Sep 2004, p.140]

An appreciation for the heart, humor and no-bullshit directness of the very best hip hop is all that's required. [May 2004, p.108]

An impeccable album that makes good on the promise he's shown in the past. [May 2004, p.102]

Riff-roaring and exuberant, this album funnels the sprawling noise of the band's previous discs into one direct aural javelin aimed for your brain. [Jan 2005, p.112]

A massive instrumental effort, as skilled and musical as it is on-the-fly improvised and messy. Seamlessly blending sonic experiments with live group interactions, godspeed saunter through these four extended pieces with ease. [#150, p.94]

There hasn't been a song-oriented psychedelic album that's had this sort of life-affirming, full-bodied roar since Mercury Rev's 1993 classic, Boces. [June 2003, p.110]