Featuring the production savvy of Soulwax (who also worked on "Sexor") is an extremely polished and solid release.

A transportive offering in a record full of them--strangely relatable, hauntingly beautiful and in the truest sense, exquisite.

More distinctive than the arrangements, though, are Topley-Bird's utterly unique vocals. [Sep 2004, p.117]

Devoted fans need not worry, though--the album still holds the melancholic flavor they’ve come to perfect, just with some added twinkling synths, hints at old-school R&B, and a splash of funk for good measure.

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.

You would think that all this grandiose genre-juggling would play out like a collection of songs, but it all works well together and plays like a cohesive album.

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.

[The band has] gotten down to the more important work of constructing airtight grooves with just enough weirding-out to show their legion of followers that it takes more than a drummer with good 16th-note skills to rock this party right. [Mar 2007, p.96]

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

None of the pairings are out of place. [Mar 2007, p.99]

Milky Ways is a simple yet multilayered album that fires on all cylinders.

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.

Luckily he counteracts offbeat, sad sucker storytelling with endearing Casio tones and token indie rock chords. [Mar 2006, p.123]

Mirror Conspiracy's thoughtful drum programs hardly become drowsy or monotonous... Unfortunately the occasional lyrical overdose also leaves some tracks seeming a little too light. [#77, p.130]

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.

A rewarding, intimate listen. [Mar 2007, p.101]

The Hawk is Howling is Mogwai at its best.

The tracks... feel more like loose, languid, quiet-loud sketches and fine textures than actual songs. [Jan/Feb 2005, p.96]

Damn decent stuff. [Oct 2005, p.85]

With Similes, he has re-grounded himself using surprisingly un-ambient means: plaintive vocal turns, steady human percussion, traditional and discernible instrumentation

From the tip to full metallic thrust, Dan Auerbach and Patrick Carney slap and caress romantic lyricism deep into the tunnels of harmonic structure, curried by Brian Burton’s (aka Dangermouse) rollicking production.

Albarn claims this album is a letter to the London of today, but it's impossible not [to] get swept into the grandfatherly smell that permeates every number. [Dec 2006, p.127]

Hercules head Andy Butler enters into sizable trances of sonic pleasure, keeping a consistent head nodding and danceable bass line while piling up different elements into an anachronistic salad of old and new melodies all combining and fusing to make something refreshingly current.

Lewd and wonderful. [Apr 2005, p.103]

At the end of the day Maximum Balloon is not a great departure from the TV on the Radio sound. And it's hard to say that's a bad thing.

Takemura's most embraceable album to date. [Jan 2003, p.77]

Draft's second half will hold more sway over those pining for the minor-key melodiousness of works through Tri Repetae++. [Jun 2003, p.93]

As sophomore albums go, Atlas is far from sophomoric. [Feb 2004, p.79]