Oddly, they sound more now in 2002 than they ever have. [Dec 2002, p.96]

Underworld are dancefloor outsiders humble enough to leave the 12-inch stuff to the kids, but good enough to be the Yes of dance rock without turning into Jethro Tull. [Oct 2002, p.82]

The tone grows shrill by album's end, but occasional bursts of accessible production help alleviate that shortcoming. [Oct 2002, p.84]

A righteous wallop of club-crawling, rave-slumming fun. [Oct 2002, p.83]

Nothing Hill works best when Adamson keeps his mouth shut and focuses on crafting moody instrumentals. [Oct 2002, p.76]

The CD's air of politeness pushes this pleasant pop music into the background. [Oct 2002, p.92]

A blissed-out menagerie of subtly morphing beats and elegant melodies within a dub framework. [Oct 2002, p.88]

Between The Senses follows in the hallowed Brit-rock tradition of trembling vocals, chiming midtempo guitars and delicate lyrical sensibilities. [Oct 2002, p.80]

A patchwork quilt of wispy Britpop ballads soaring majestically in an effort to overcome their own blandness. [Oct 2002, p.78]

His most winsomely loveless lyrics yet. [Oct 2002, p.92]

Only one or two tracks capture that combination of venom, wit and old-time Northwest angst that made Mudhoney one of the grunge movement's standouts. [Oct 2002, p.88]

Easily ranks among their best. [Oct 2002, p.83]

This album's fucking great, like a sharp stick in the eye. [Sep 2002, p.81]

Despite being almost numbingly consistent at times, it's his most self-indulgent Catholics album, and it could easily become a favorite of Black's long-time fans. [Oct 2002, p.77]

It feels like the afterthought it most likely was. [Oct 2002, p.77]

There's no absence of strong material here, although the sequencing feels awkward. [Oct 2002, p.94]

Trinity is almost perversely uninvolving on first listen. [Sep 2002, p.90]

While the band's by-the-book emo and fondness for '90s Radiohead may not break new ground, they've still made a hell of a record whose familiarity makes it feel like an old favorite upon first listen. [Oct 2002, p.95]

While the musicianship is first-rate, the middling tempos and docile, homogenous instrumentation quickly grow boring. [Oct 2002, p.94]

Its sweeping cinematic scope and all-instrumental tracks recall the lushness of Orbital in their prime. [Oct 2002, p.86]

This time, the heartfelt stuff sounds more sugary than before, while the hate vibes sound even more caustic. [Sep 2002, p.73]

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

It's rare for a band to channel the Velvet Underground, Nirvana, Dandy Warhols and the Beatles within the span of 45 minutes and sound unique, but the Vines have crept into that select category with Highly Evolved. [Aug 2002, p.86]

Smartly packaged pop that's as slick as Stereolab, but human enough--thanks to Coyne's earnestness and sincerity--to malfunction in all the right places. [Sep 2002, p.77]

Successfully blends the Detroit and California states of mind, with energetic indie-rock tunes that coo as much as they crow. [Sep 2002, p.96]

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

A cohesive, 100-percent successful record. [Oct 2002, p.95]

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