Doom still holds some secrets, but his lyricism and feel for the funk sweat out of the this album as much as any of his previous, if not more. He clearly shows that he is here to stay, and if anyone was expecting change, they are looking in the wrong spot.

This is heady material, but it’s also extremely beautiful and catchy, and picks up right where each of their respective solo careers left off.

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]

This isn't the neo-hippie folk of Devendra Banhart, but something far more sinister. [Dec 2005, p.96]

The camp is still there, only now there's a newfound confidence (not to mention skill level) that make this one a winner. [Aug 2003, p.90]

The studio noodling on Roots & Crowns sounds fittingly organic and effortless. [Oct 2006, p.117]

After five full-length albums, Shame, Shame finds Dr. Dog far from having exhausted their creativity, sounding more passionate and frenzied than ever on what is a lasting testament to their showmanship and remarkably consistent songwriting.

Triumphant. [Jul/Aug 2006, p.130]

Thanks to collaborations with Richard X, Franz Ferdinand’s Alex Kapranos and Xenomania’s Brian Higgins, Annie’s cross-genre “pop with strange edges” still comes together with plenty of bang.

Red Barked Tree captures the sharp and fiery hallmark defined by Colin Newman, Graham Lewis and Robert Grey some thirty-odd years ago to strike a pressure point relevant to younger generations.

Though straightforward, the song structures are detailed and ruffled. [Jun 2006, p.110]

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.

Musically, the live instrumentation and golden-era feel to the production make this record an enjoyable listen.

We're given a deeper record than some may've anticipated -- sonically, for sure--but more so The Very Best's debut stands up higher as document of seamless (and shameless) cultural convergence.

Surprisingly sophisticated for a collection of shouty-pouty ballads from a trio of 20-year-olds. [Dec 2005, p.98]

Both a return to form and a major step forward. [Dec 2005, p.94]

Despite all of it's successes, the fact is that the album doesn't reach perfection, which I imagine is what most Jets fans might have been expecting from it. I will argue that it's a superior piece of work and certainly one of the better hip hop releases so far this year.

It's Josh Reichmann and James Sayce's glam-shaded and '60s pop-tinged songwriting that really makes this record cook. [Dec 2005, p.105]

The Big Doe Rehab, is predictably entertaining, not because he doesn’t have new tricks, but because at this point his weirdness is hardly surprising.

Seductive, lovely and OK to like. [Mar 2006, p.116]

Its tracks work together to form a cohesive, incredibly personal whole. [May 2007, p.91]

The guys do an incredible job of combining both the “Diplo” and “Switch” styles with that of Major Lazer, while still paying respect to a genre they clearly love.

The band is crisp and tight, with daring songwriting and arrangements. [Mar 2004, p.111]

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

Overall it's a great promissory note to the world, and a view of what's to come in the dance world. If anything, all I can hope for are more divas and fewer bros dominating the scene.

Too often, bands are promenaded across the web, heralded in a way that makes everyone a name-dropping music connosieur, only to fade too fast....hopefully the same won't happen to the latest interwebs It Chick, Bethany Cosentino b.k.a. Best Coast.

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

The contrasts, themes, and sheer eclectics of the album make for something that any one person can listen to, and relate to.