ET streaks the gauntlet from breaks to hip-hop to trance and downtempo with seamless, soothing fluidity. [Oct 2003, p.90]

It’s Kasher’s knack for minimalism that moves Help Wanted Nights as it flows in and out, building and falling with intensity.

The entire disc is marked by diversity and ingenuity. [#13, p.96]

It’s the pounding of the skins that makes the album really pop.

The album is their most complete work to date.

The songs border on self-plagiarism. That's not to say their Achilles' heel is unoriginality-fans of either band will definitely find some gems. But if Admiral Radley wants to transcend the predictable, they've got the weapons to do it-they just need to use them.

By album's end, the anthems will have you romping well into the next decade.

The final product does its players incredible justice, as each pluck and stoke resonates to a chilling effect. [Winter 2008, p.100]

It’s not perfect, but strong songwriting philosophy like this deserves to be noted and heard.

A challenging record. [#17, p.97]

Don't assume every song on Fasciinatiion is schizophrenic, navel-gazing "why-are-we-here-and-what-does-it-mean" tome. [Summer 2008, p.91]

What makes Tamborello so special is the fact that his music can stand as comfortably in a Kompakt Records compilation as it can in a room filled with indie nerds. [#25, p.102]

Tricky hasn't planted his flag on any new territory, but he has gotten a stronger grasp of what has made him such an intriguing and important artist in the last decade. [#6, p.90]

Sounds like something made by a gifted producer who has a great voice, an earnest way with words, a vast well of fantastic ideas, and a serious OCD complex. [#12, p.95]

This record is not out to shatter you; its aim, rather, is to fuel your night drive through the dusky electronic corridors of sun-warmed youth.

The results are expectedly familiar, fantastic and welcome.

Future This delivers the same formula, but does so with perhaps one too many tracks.

The Prodigy has been treading water for a few years, most likely looking for the inspiration, sentiment and spooky samples which they now unleash on Invader Must Die--a treat for anyone with a thirst for the twisted and ferocious. [Winter 2009, p.92]

The one-man result: breezy soul tracks with pop structures, chill vocals and a grab bag of flourishes recalling everything from McCartney to Prince.

Lovers of perverse pop, rejoice! [Summer 2008, p.92]

Throughout, group leader Toby Martin accelerates his ascent to bedroom bard of the medicated generation, filling Twilight with Zach Braffian tales of the perils that exist in relationships with girls (“Sorry”) and pills (“On A String”).

Call it diversity; call it inconsistency; whatever. Moving in some direction is half the battle. [#22, p.93]

Apt at harnessing the power of the pout, songs are left in the shadows, no minor key left unexplored. Theatrical, yes. But not without restraint.

The quartet's cycle of jam band guitars and lamentable retrospectives os a smidge repetitious but there's comfort in the routine. [Fall 2008, p.97]

If you're looking for the quartet's usual twist in its sobriety, there's a Sondheim-ian feel to Keane's particularly ardent brand of complex pop melancholy this time out to go with its new sense of directness.

Still, without the pirate blouses and eyeliner... it's just homage, isn't it? [#12, p.99]

Tillman’s silken, Otis Redding–reminiscent vocals anchor funky, horn-driven R & B beats that match the swagger of Motown.

For this blissfully weirdo fourth outing, the sisters Casady freakishly but joyfully plunder the odder bits of medieval folk, drum and bass, Western saloon and Mitteleuropa gothic elements.