His dark, gritty boom bap is back. Better than ever.

It’s far from perfect, sloppy and trance-like, but feels suffused with a blast of inspiration the musicians simply had to get out.

The highlight of this album is Blueprint's pensive, jazzy landscape of strangled horns and muddy synths. [Jan/Feb 2005, p.94]

Metallic Spheres, a collaboration with electronica legends the Orb, represents his boldest and most satisfying footnote to date.

No Age might be what you've been seeking this whole time. If you're just a music snob and pride yourself on some peculiar yet ostensibly good sounds, this is definitely for you's as well. If you're looking for something else, something that utilizes more traditional instruments toward a particular and thought-provoking sonic texture, I sincerely recommend mathematical rockers No Age as a band altogether and thus unreservedly their work on Everything in Between as well!

This is not just academic and abstract music for the headphone philosopher, but proper soulful stuff that will rock more adventurous dance floors. [Aug 2003, p.90]

Explores the previously uncharted territory where shouty alt.rock meets a cappella vocals and skinny-tied new-wave melody. [Nov 2004, p.99]

Stalwart fans of Morcheeba won't be disappointed. [Mar/Apr 2008, p.106]

Collas and Marquand hold things down with DJ tightness, while members of bands like TV on the Radio and The Dap Kings let loose in the grooves.

At times self-indulgent, The Colossus contains enough of the parts that made RJD2 relevant in the past to reignite interest in both this album and his vast (and growing due to unreleased material) back catalogue of work.

Closer in spirit to Matmos' The Civil War than to any rap record, Ten dares you to let your inner child out to play. [Mar 2004, p.108]

Once the headphones are in place, it becomes apparent that the Frenchman has indeed pulled off another masterful work. [Mar 2005, p.111]

Javelin know what they're good at, where they stand, and they aren't trying to shove their knowledge and musical interests in their listeners faces. Instead, they let them find it for themselves by picking up on bits and pieces and carrying them forward, focusing on what interests them without having to worry about what they don't.

A solid record of contagious melodies and dance-tastic beats. [Jul/Aug 2004, p.125]

[A] blend of wobbly slide guitar chords and simple, steamy beats. [Nov 2006, p.128]

But if this is not a problem for you (there’s hardly a word of English), then you’ll enjoy the warm dialogue and glacial crooning of an ancient tongue presented over a psychedelic mix of some of the dark continents finest.

If Pilot Talk was the daylight that showcased Curren$y's talent to the world, part 2 is that evening's afterparty.

It's mostly about a rollicking anti-frat party, where grizzled indie kids take ecstasy and discover the primal appeal of the dance floor. [Mar 2005, p.112]

Any notions of the dreaded sophomore slump disappear seconds into their new album It’s a Bit Complicated.

Black Dialogue has finally captured the Perceptionists' on-stage charisma and fraternity. [Apr 2005, p.103]

Another impressive and complex recording. [Sep 2006, p.139]

Despite not being as mesmerizingly immense as some of his earlier output, the record is still a far-out journey of dramatics ("Restart" and "Levels"), hooky winners ("Robots" and "Think It Over") and real-world lament ("Flying" and "Think It Over"). In short, the wait paid off.

Far from sloppy seconds, the album's both imminently enjoyable and a valuable glimpse into the creative process of one of hip-hop's most accomplished producers. [Apr 2006, p.88]

What Max has created as a result is nothing short of amazing.

Cookie is a true musical treat that more than hits its mark with seriously sublime style. [Aug 2002, p.118]

Mathematics’ more traditional drumwork keeps this distinct from a RZA production and provides a surprisingly snappy cohesion to the whole affair.

Two Suns doesn’t have to parade itself around as a concept album to prove that music has always been, and always should be, about telling a story, as Khan does here.

Zero 7 have perfected the formula for folk jazz that transcends definition and defies classification, always taking you on joyous rides that often end at a truly unexpected place. [Jun 2006, p.108]

Deceptively primitive-sounding, Alight Of Night is the definition of a "grower." [Nov/Dec 2008, p.84]

The songs heave with shockingly real energy. [May 2005, p.85]

The colors of the view, the hill, and the sky blend into one swirling colorful, confusing masterpiece. Just when you begin to think you might reach overload, you land cleanly on the ground, on your feet. You just listened to Alien in a Garbage Dump.

This is Kelis' big moment, and she more than rises to the occasion. [Feb 2004, p.82]

Super Sound makes up for any lack of focus with attitude and a prevalence of splendid, melodic pop. [#81, p.120]

A sometimes abrupt, hard-to-pin-down voyage with fun surprises and plot twists. [Sep 2006, p.131]

They rant and roil through aggressive blasts of adrenaline and youth... like their nads are on fire. [Jan/Feb 2005, p.94]

The perfect soundtrack for a late Sunday night. [Jan/Feb 2005, p.96]

Like the Postal Service's wiser uncle, this is emo-electronic that doesn't whine, but rather approaches with a sense of musical and lyrical purpose. [Sep 2005, p.104]

Reminiscent of our favorite moments from groups like Radiohead, ColdPlay, and Kings of Leon, Everyone I Ever Met is sure to garner the vintage Schwinn- riding guys from Oregon some well deserved props from music lovers world-wide. Do not miss this stellar release.

Most of the time listening to anything that's on the Hot 100 is considered a guilty pleasure. Music for females, not fanboys. But thanks to Girl Talk, Feed the Animals makes the feeling less filthy—thus the embarrassment is less painful.

Experimental hip-hop and moppish guitar pop *can* go hand in hand. [#90, p.118]

Everything here–like his entire songbook pretty much–is delivered with presence and vigor.

Even though the “fast forward button” will be needed here and there, The Stimulus Package is still a solid release that is easily the top hip-hop release so far this year.

You could buy this album just for "Poney Part 1," and really, it'd be worth it. [Jun 2005, p.81]

Baltimore's best-kept secret is ready for the world. [Sep 2005, p.119]

While a handful of tracks may... seem familiar to fans of PiL, Dinosaur L, ESG and Primal Scream, Echoes manages much more than aping influences. [Oct 2003, p.83]

The two mini-albums are both successes in vastly different ways, but they are especially effective as testaments to the versatility and adventurousness of Zach Condon.

Beans emerge[s] as the underground's answer to Pharrell Williams, insanely stylish and armed with beats and rhymes to spare. [Feb 2004, p.78]

Definitely the earbuds experience of the month. [Oct 2005, p.85]

A few moments... break through the post-punk grind to show a little more breadth. [Apr 2006, p.90]

If we're to accuse Chemical Brothers of anything, it's trying to set a lofty new bar in the style they themselves created, and that no one else seems to be working anymore. [Sep/Oct 2007, p.128]

Each song is perfectly buoyant and bold standing alone or considered on the whole. [Jan/Feb 2006, p.95]

This is a disc with massive high points and few low moments.

Drukqs is the most sincere album [James] has released since 1995's I Care Because You Do. [Nov/Dec 2001, p.131]

A reminder of artists like the Breeders. [Mar 2006, p.122]

Digs deeper into his sonic bag of tricks, producing a panorama of inspired ideas. [Jul/Aug 2004, p.125]

The defining thread running through Chromeo's body of work is earnestness: you might scoff at the Lothario-obsession, the legs on display in the artwork, the almost-religious adherence to '80s stylistics, but in the end you either have to a) give it up for their studiousness, or b) just dance.

Ghost Colours sounds like Depeche Mode on Lorazepam--dramatic, well enunciated and full of arpeggiated synthy goodness.

He merges genres and styles, and it's impossible to resist his bass heavy and chest bursting productions.

It’s the type of strung-out confession that fills the junkie mold of classic Bright Lights Interpol--a welcomed revival after the wayward Antics.

Atlantis will rock your body--if you open your mind. [Jan 2007, p.79]

This is just one entertaining ride for hardcore hip-hop fans all the way down the corridor, one that economically rocks your knot at just under 42 minutes.

Throughout the album, there are moments of brilliance that standout, but are quickly overshadowed by guest who seem to have been chosen against the groups’ better instincts. If you go in deep, and ignore the co-stars, Divided By Night itself is more than enough to shine on its own.

Sigel spills enough raw emotion on these top-shelf beats to make Ghostface Killa shed a tear. [Jun 2005, p.85]

Entertainment resurrects the group. Their music disconnects, only to connect again.

Ethiopium is an instant classic that reveals its true essence after every listen, and as such, will only reward those who prove worthy.

[A] remarkable return to form. [Oct 2005, p.75]

Even though incredibly complex and insanely technical, this is a very quiet, intimate release. There is a vulnerability in this album that hasn't been seen in previous works.

At seventy-eight minutes, Emotional Technology gets a bit long in the tooth, but you get the feeling that the myriad streams of sound that pass between (and through) his ears have finally nestled together in a grandiose manner he envisioned. [Sep 2003, p.99]

Every song is a keeper. [Apr 2005, p.103]

Black Kids' conviction and raw talent has made for a record that far outshines a majority of their blog brethren. [Jul/Aug 2008, p.84]

Boratto’s focus remains on approaching the line of excess without tipping over. And once again he stays on the wire.

They have a clever way with words and pleasantly surprising musical depth. [May 2005, p.92]

Right from the get-go, whatever "community" Deacon was aiming for seems to be established--the music is inclusive, it's warm, and it invites you in rather than thrusting itself at you, unlike previous Deacon works.

Annie explodes with a white-hot teen spirit that shames 99% of what passes for pop in America today. [Jun 2005, p.76]

There are... some impressivley fresh ideas lurking between the anthemic bits. [Sep 2006, p.137]

His sixth record fuses together the best of his ability, the remarkable piano compositions and absurd lyricism, with production outsourced to Berlin electronic producer Boys Noize.

Apparently channeling Stereolab, Dilated Peoples and the ghost of Esquivel, Cut Chemist finds that everything is fair game if you are witty and skilled enough to connect the dots. [Jun 2006, p.108]

The record is just as uneven as the original and perhaps that's just the right way to pay homage. [Nov 2006, p.128]

If his first album, Shadows on the Sun--one of 2003's best hip-hop releases--was meant to introduce Ali to his would-be fanbase, The Undisputed Truth--which sees Ali's life taking a total 180--seals the damn deal. [Mar 2007, p.97]

So even as Tortoise integrate guitar surrealism and edgier motifs into their palette, they also progress their unique relationship to electronic music and hip-hop. [#82, p.139]

It's creative, enlightening, and altogether fun.

21 is just a logical, major label extension of her girl-ish, diary-dream optimism.

A wonderfully dance-ridden companion ot the intelli-disco carved out on 2005's The Sunlandic Twins. [Jan/Feb 2006, p.81]

But wait, you say you're sick of disingenuous irony? Well so are we, which is why Junior Boys is such an astounding relief, boarding on rapturous in their melancholy. [Jul/Aug 2004, p.125]

Their arrangements are tidy as ever and the disc's energized pop sounds like it came together on the stage rather than the studio. [May 2007, p.97]

Stith’s ability to combine sounds into a sort of post-modern tribal folk is what makes the album so enjoyable to listen to.

It doesn’t always make for a relaxed listen, although it is certainly capable of settling in as a moody background or standing in the forefront captivating rapt ears. The swarms of noise can be both comforting and disconcerting, but each finds a place of its own as this duo continues their run of impressively novel music making.

A raucous blend of rockabilly, country and '80s indie rock best listened to before a heavy night of Caledonian pint-drinkin'. [Sep 2005, p.112]

That's the magic of XXX: whether joy, sadness or disgust, Mr. Brown will make you feel something.

It's a veritable buffet of beats as she claws into everything from ghetto-house to industrial bombast with confidence and attitude to spare. [May 2004, p.83]

Political agenda with raw AC/DC chords. [Dec 2005, p.105]

The songwriting here is stellar enough to overshadow the caustic manner in which Sam Merrann screams simply for the sake of screaming. [Mar 2006, p.119]

Nothing stays as it seems for long, but the dense ethereality they've created with Narrows definitely leaves a lasting presence on even passing listeners.

A lively collection. [Sep 2006, p.132]

So who cares if Esser is clearly a product of his environment, right down to the post-Millennial Morrisey pompadour. Put him in line with several decades of British music that will always satisfy the NME reader within.

This album has a '60s folk-rock quality that's earnest, sweet and open. [Sep 2006, p.136]

It's a delicate album that's simultaneously sophisticated and warm. [Apr 2007, p.106]

Monkey: Journey to the West is a testament to Albarn's versatility as a musician and his melodies' ability to avoid becoming losing their power in translation.