God Says No is the sound of a band heading toward the charts, full-speed.... This is a disappointing record for longitme fans; maybe new ears will dig it. [#153, p.81]

Interlude continues where 'Water' left off, exuding a pall of melancholy that translates into heartbreaking beauty. [#153, p.85]

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]

Green's heightened tunefulness along with the broadened emotional resonance that results should enable this band to relate more to an enlarged fanbase... [#154, p.63]

While A Chance may not move Matmos any closer to either the song or sound distinction, perhaps the fact that their music consistently provokes smiles and dark thought with increasing accessibility warrants our continued, if not increased, attention... [#154, p.76]

Once you get past the roller-disco-house vibe of the first single, "One More Time," your ears and booty will twitch just fine to the booming beats and taffy-stretching grooves. [#153, p. 63]

One of the most bizarre things ever released by Sub Pop. [#154, p.80]

Stag for the most part rocks with biting fierceness and vibrant energy. [#155, p.81]

At times, the disc trades solid shoegazing for a slip into blase modern rock, with songs that beg for broadcast next to STP and Third Eye Blind; ultimately, however, Gwenmars' recasting of the dark British sounds that lent depth to sunny American movies is intense and compelling. [#153, p.75]

A gorgeous and welcome display of growth... [#155, p.68]

Though this is limp-wristed stuff, it's also undeniably beautiful, often recalling Nick Drake and Belle & Sebastian. [#154, p.82]

Understated but never anemic, Sunny Border Blue's tales of love, family and growth succeed largely due to Hersh's masterful acoustic guitar. [#154, p.81]

An admixture of Stax soul, raw-boned punk rock, and California beach-pop that sounds more focused than their previous outing, 1998's R.F.T.C. [#154, p.84]

Suave yet sublimely ridiculous... most of Uh-Oh raises the stakes by escalating nearly every aspect to critical mass. [#153, p.88]

The best songs... are the ones heavily influened by the Posies' Ken Stringfellow and Jon Auer. [#154, p.98]

The crossbreeding makes for a difficult listen, even thought it sharpens the Oscar Wilde-like wit Momus brings to the endeavor. [#155, p.86]

Not a true turkey in the bunch. [#153, p. 83]

The duo's strength is their songwriting skills, which are being honed to a razor's edge here. [#153, p.84]

Five years later, it's easy to be blasé about [Aidan] Moffat's disgruntled first-person narratives. [#154, p.68]

Uninspired goofiness... [#154, p.98]

Seems like a tarted-up version of 1986's Raising Hell.... This is for diehard fans only. [#154, p.87]

Filled with laid-back, intelligent electronica equally suited to dancing and chilling, Production ultimately succeeds through its deft combination of strikingly disparate elements. [#153, p.79]

Spoon deliver everything with a calm, classy Motown-pop feel, but the disc still crackles with punk intensity... [#154, p.97]

A short, quiet, and relatively still bit of genius. [#154, p.82]

Admittedly, this kinder, gentler Half Japanese lack the shambling brilliance of earlier incarnations, but, hey, we all lose a step with age. [#155, p.76]

Standards succeeds by making the most of the intellectual side of Tortoise--their stylistic cross-pollinations, their meta-musical analyses--without ever losing sight of the music's ability to do more than engage the mind. [March 2001, p.94]

With just his voice and an acoustic guitar, he's made these songs his own, and in the process created a most remarkable LP. [#154, p.93]

The disc is as loose, casual and rollicking as a conversation with an old friend.... across these 65 minutes, his manic energy shines through. [#154, p.87]