An album that hangs together surprisingly well. [Oct 2002, p.90]

The feeling isn't sucked out yet, but the focus is. [Sep 2002, p.92]

If helium-filled kitsch 'n' synth tunes float your boat, this CD will satisfy. [Sep 2002, p.87]

One-dimensional and full of tired tunes. [Sep 2002, p.81]

Noel Gallagher's songwriting is more derivative than ever. [Aug 2002, p.78]

It's meticulously arranged and inoffensive, but well-played enough to keep you from falling asleep. [Aug 2002, p.80]

It was probably inevitable, but having raised the bar so high for cut-and-paste music, Shadow spends a little too long here looking up at it. [Jul 2002, p.96]

Title TK isn't awful, but it's too zoned out to draw you in. [Jun 2002, p.71]

Breezy, flashy, and fun, but emotionally bereft as well. [Jul 2002, p.81]

Packed with earnest but impotent stadium rock. [Jul. 2002, p.82]

Costello clutters many fine compositions with kitchen-sink arrangements and cacophonous production that bring into focus how sorely missed estranged Attractions bassist Bruce Thomas is throughout. [Jun 2002, p.75]

A disheveled collection.... Westerberg's muse seems to switch on and off, from inspired to bored. [Jun 2002, p.90]

They focus too little on well-made songs and too much on creating an angst-ridden atmosphere. [Jul 2002, p.78]

Unfortunately, the pretentious spoken-word ramblings, corny hooks and unremarkable trance put Maas, along with Paul Van Dyk and BT, in a less illustrious category: top-notch DJs with second-rate albums under their belts. [May 2002, p.90]

Sadly, Modulate comes off as a former punk's clumsy and unsuccessful attempt at diving into a genre that relies less on the organic than it does on the synthetic. [May 2002, p.96]

What could have been a second coming of Stone Roses or even a newer New Order comes off like one big Spiritualized remix, light on the hooks, numbed by its own beats. [Apr 2002, p.82]

Buffalo Daughter seem more concerned with emulating others than with creating their own niche. [Apr 2002, p.66]

Has an infectious energy that keeps things from growing stale. [May 2002, p.84]

This disc contains some intriguing moments. [Apr 2002, p.74]

South are at their most compelling when they apply the aesthetics and methodology of dance music to their epic rock music. [Mar 2002, p.88]

An album full of songs so lethargic, it sounds like it needs a nap halfway through. [Apr 2002, p.71]

The collaborations produce some occasional gems, but midway through the disc one gets the impression the X-men are no longer "in their own session." [Feb 2002, p.82]

With this soft-spoken and delicate record of almost-drawling songs, he's moved his work one step closer to Nashville. [Mar 2002, p.81]

There are few hooks to grab the ear or inspire repeat listening. [Apr 2002, p.86]

A middle-of-the-road OTC record heavy on angelic vocal harmonies and light on innovation. [Apr 2002, p.84]

Though there's little here to entice newcomers, fans should rejoice. [Mar 2002, p.77]

The only problem is that in making way for all the MCs, Dilated's tracks seem too peripheral, keeping Expansion from sustaining the momentum its MCs command. [Jan 2002, p.80]

There is very little here that makes any sort of meaningful connection. [Dec 2001, p.85]