The Looks shows off MSTRKRFT's deep understanding of making people move. [Jul/Aug 2006, p.125]

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

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]

It's her way with a sexy synth beat that gives Ms. Peaches her succulence. [Jul/Aug 2006, p.126]

Perhaps an EP would have better-suited Yorke's solo aspirations. [Jul/Aug 2006, p.115]

A melodic minimal techno record that's sunny rather than stark, emo(tional) rather than eerie. [Jul/Aug 2006, p.129]

The Return shifts from the dusty, foreboding ambience created by Dan the Automator on Dr. Octagonecologyst into a contemporary world ripe with analog melodies and crisp, programmed beats. [Jul/Aug 2006, p.125]

Actions' unique and new-fangled deliverance of mostly acoustic and certainly threadbare beats see to it that Plan B doesn't fall into the grime or dubstep pigeonhole. [May 2007, p.97]

This time the band offers a variety of styles, from uptempo rockers to gorgeous ballads to move you. [Jun 2006, p.119]

More Libertines than Franz Ferdinand, the Futureheads deftly move away from being pigeonholed and reward listeners with a complex album of pop gems. [Jun 2006, p.111]

Splendid. [Jun 2006, p.111]

Better than his debut. [Jun 2006, p.105]

While Molina's songwriting varies little from album to album, her songs are so strong that this is not necessarily a weak point. [May 2006, p.88]

As strong as volume one, Hebden and Reid's finale to their improvised sessions is worthy of an encore. [Jul/Aug 2006, p.124]

Eschews gauzy isolation to embrace the heartfelt immediacy of chiming, breezy pop in a Big Star way. [Jun 2006, p.119]

Mind plays like a collection of tracks destined for car commercials, Hollywood movies and Superbowl half-time shows. [Apr 2006, p.90]

Like Stereolab backed by the Muppet Babies. [Jun 2006, p.114]

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]

Scale slips into un-passionate, boring territory--in part due to the vocalist, who make sthe whole thing sound somewhat homogeneous. [May 2006, p.86]

The most palatable Mike Patton project to date. [Jun 2006, p.113]

Like a walk through an alternative music encyclopedia. [Jun 2006, p.113]

Radio 4 borrow, like everyone else, but they had the idea to borrow before most on the map. [Jun 2006, p.114]

An irresistible mix of soul, rock and attitude. [May 2006, p.91]

Too much of Wood lumbers on and on and on... [May 2006, p.95]

Elsewhere is exactly what you thought it'd be: a daring piece of work from two artists not afraid to take chances that pay off. [May 2006, p.81]

Unfortunately, lead singer Pall Jenkins's vocals are not as spectacular as the arrangements backing him. [May 2006, p.82]

An album as colorful as his stage show. [Apr 2006, p.96]

This record is too flat. [Jun 2006, p.119]