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]

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

You've heard it before and frankly, you've heard it better. [Jun 2004, p.90]

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

With hardly a breakbeat in sight, RJ's sophomore effort plays like an homage to '80s-era easy listening.... An ambitious effort, but a failure all the same. [May 2004, p.86]

While Kesto's sweeping scope is impressive, this long-player is best reserved for cold winter evenings and late-night introspection. [Jul/Aug 2004, p.126]

Wiry, tense, post-No Wave dispatches. [Oct 2004, p.102]

It's a lot of wicked, loud noise, and if that's your thing, this is your record. [Jun 2004, p.84]

Easily the best and most original album the Betas have ever made. [May 2004, p.84]

Certainly a nice full-length, though it would be interesting to see what a vocalist could add to their formula . [Jun 2004, p.86]

Their sound is an interesting polyglot, one as easily accessible to dance minimalists and brown corduroy-wearing emo boys, and with nary a compromise. [Apr 2004, p.86]

Evidence that these musical minds are sharper than ever. [Jun 2004, p.87]

Colder's continuous atmosphere of experimentation, and his own off-kilter vocal delivery, keep you on the edge of your ledge. [Jun 2004, p.84]

All good, but not quite great. [Apr 2004, p.85]

While not up to par with either of their previous albums, Bee Hives is certainly a pretty, if uneven, addition for fans. [Jul/Aug 2004, p.124]

Blonde Redhead's most confounding element is also one of their most endearing. With her ethereal, paper-thin voice, [Kazu] Makino often slips frustratingly off-key. [May 2004, p.84]

9th [Wonder]'s impassioned beatwork's sole shortcoming is there's not enough of it, as this album runs less than 40 minutes. [Apr 2004, p.83]

This is an album that seeks to push boundaries, and succeeds. [May 2004, p.84]

In a perfect world, Fly Or Die would become a classic-rock staple right next to Can't Buy A Thrill and Heaven Tonight. [May 2004, p.87]

A refreshing batch of summery, carefree downtempo songs. [May 2004, p.85]

Boatloads of fresh, clunky beats land ashore with narrative tongue trickery. [Apr 2004, p.86]

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]

Majestic, glorious and not like much else you've ever heard before.... A strong contender for Album of the Year. [Mar 2004, p.107]

Lerche has a pop manual the size of the OED, and he's not the least bit bashful about using it. [Apr 2004, p.86]

Unlike their inspirations, they've ditched the Marxist polemics in favor of dance-driven ambiguous tales of fumbled romance. [Jun 2004, p.84]

Occasionally teetering on the verge of too precious, the heavy mood and lush production are too much (and too nice) to resist. [Apr 2004, p.87]

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]

[A] full clip of club bangers and radio rockers. [Mar 2004, p.108]