Some songs do morph into mere mood pieces... but Charango remains a fine return to form. [AUg 2002, p.80]

The album is witty and fun and will appeal to a wide variety of people. [Apr 2002, p.82]

Release slowly unfolds with a sparse elegance, resonating as the detached dance-popsmiths' finest complete album in a decade. [June 2002, p.90]

Unrestrained by the limits of producing a radio-friendly album, Mirwais produced an excellent album that can be appreciated by both fans and critics of Madonna. [Apr 2001, p.92]

When US aren't dipping into other musical genres to "keep it fresh," the classic blippy sound shines through on "Love Song" and "Punk Club." [Aug 2001, p.82]

Riding a delicate balance of acid house and electro, Machine Says Yes is as cold as it is hot. [Dec 2002, p.76]

It is good to see such experimentation by an artist in a field usually associated with being so genre-specific. [July 2001, p.82]

Ultimately, Evil Heat is more evocative than innovative, but why rewrite the book when it's already a compelling read. [Dec 2002, p.80]

Intelligent, rugged and moving, Lost Tapes is everything Stillmatic should have been. [Dec 2002, p.76]

Everybody Got Their Something has something for almost everybody... [Jul 2001, p.86]

The cuts resonate with more creativity and originality than most stuff on the shelves. [Apr 2002, p.82]

Suicide have rounded the edges on their metal machine music and jettisoned some rubbery retroisms. [Nov 2002, p.77]

He has come into his own as a tech-savvy songwriter who can make the sampled-bits, live horn sections and real string arrangements speak for him, not louder than him. [Nov 2002, p.79]

You get the impression that the sound is simply a synthesis of all the things he has listened to and enjoyed. [Nov 2001, p.76]

The crunchy guitars that underpinned some of the tracks on X are now up front, giving the whole collection the feel of early Manchester bands like Happy Mondays. [Feb 2002, p.74]

Isn't as ambitious or effective as the trio's genre-smashing debut, but it should still keep dancefloors and mosh pits sweaty all year. [Jan 2002, p.74]

Not for the masses, but a treat for those turned on by the erratic tendencies of free jazz. [Sep 2002, p.75]

This kind of sonic bravado is truly impressive. [May 2002, p.72]

It's all ground we've covered before, but Jamiroquai do it so well and with such style that it is still worth a tumble. [Sep 2001, p.86]

Their most consistent, simplied effort. [Feb 2002, p.76]

A work that displays more forward-thinking musical maturity than any diva in her league. May 2002, p.72]

In stark contrast to his previous experiments with computer sound artifacts and process-driven minimal click arias, Commers barrels out with harsh walls of thrashing interference and feedback in track after track. [Aug 2001, p.78]

A pretty solid IDM-goes-funky effort. [May 2001, p.78]

Get Ready succeeds in feeling like a New Order record despite all its new flavors. [Sep 2001, p.86]

If you liked previous Nightmares On Wax material, this one won't do it for you, as Evelyn's music has grown more vocal-based and less "stony."

What Cruelty Without Beauty lacks in originality it more than makes up for with sheer wit. [Oct 2002, p.81]

Erasure transforms each number into something tailor-made for a staged musical. [Jan 2003, p.74]

Quite an experiment in not only the limits of drum 'n' bass, but listenability as well. [Jul 2001, p.81]