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

Live, this animal bears really bears it's fangs while at the same time increasing the thoughtful and clever sonics and compositional savvy that puts them in a class above most of their peers.

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

This is AM pop perfection that doesn't need a stamp of retro-cool to be timeless. [Mar 2005, p.111]

Combined with newly found experiences, newly discovered self-awareness and newly refined skills, By the Throat catches this almost-forgotten duo at a new height of the pair's combined powers. Well worth the wait.

It’s a syrup-sick pop rotted by dark folk, elaborate rhythms and droning psychedelia, but it’s always tight--meticulously so--making Alopecia an across the-board delicacy of warped obsession.

Somewhere between Matmos and Ariel Pink, this is wickedly out there. [Sep 2005, p.110]

La Roux’s selft-titled debut doesn’t disappoint, pulling obvious influences from the Human League and Depeche Mode.

Why is it so easy to cling onto certain bodies of work and wish for each subsequent effort to bear resemblance? Well, the easy answer is because both of these men are very good at telling specific types of stories.

It's always amazing to see a band eclipse their influences. [Oct 2005, p.77]

Departs from the most interesting moments of his past work and thankfully st-st-st-st-stays there awhile.

The stance on Essence is less confrontational than its precursor, more a life-affirming offering to elemental forces. [#79, p.128]

The excellent Power In Numbers finds the group inching toward the future with a fuller sound and different looks. [Oct 2002, p.94]

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]

With The Odd Couple, Gnarls Barkley is unable to come up with anything containing as much pure pop power as their hit song "Crazy," but it's certainly not for lack of trying.

Tommy excels because there is no one correct way to describe the music. Using everything from Afrobeat to IDM, Dosh does it all; yet, he manages to find a way to make the entire project cohesive.

The shimmering dream pop of the band’s debut is surprisingly accomplished and self-assured, a rare shoegaze-styled album that isn’t hellbent on aping the genre’s luminaries.

Mystics still has plenty of weird, shining moments to solidify the band's unique spot in rock, but the schizophrenia may leave you a bit jarred. [Apr 2006, p.84]

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

Although Compass is certainly different from his other albums, it’s also just as certainly distinctly Jamie Lidell, and just the latest step in an ever-growingly impressive career.

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.

The Brothers reach unmistakable heights of blood pressure... but also deliver slow, melodic goodies. [Oct 2006, p.118]

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

Though adhering to this formula/non-formula, this self-produced long-time-comin' sophomore release relies on an even more augmented eclecticism than their 2004 guitar-driven Future Perfect (not better or worse, just OK Computer to The Bends differences).

A schizophrenic journey into the mind of a man who clearly embraces myriad genres. [Oct 2004, p.103]

They stick to the band's strict formula of melodic, thematic, well written music.

It takes a minimum of three full listens to really appreciate what’s going on here, so take some time with Time:Line, and reap the rewards of cross-country wav file transmission.

Very simplistic in melody and progression, each track on 200 Million Thousand is a tube-driven, distorted mess, complete with classic Brit-punk vocals. Twangy and overdriven guitars are matched with screams and pissed-off vocals full of attitude, creating a highly energetic punch, reminiscent of a Black Lips live performance.