He tears apart the classic rock, only to re-assemble it into compositions that most resemble... classic rock. [Oct 2005, p.77]

[Security] delivers a treasure trove of eclectic beats, energetic sounds, political musings and agreeable voices that come together in a perfect musical statement. [Mar 2007, p.96]

While Subtle remains as challenging as ever, there's less exhaustion in finding the nugget, for a record that finally capitalizes on the potential of Subtle's raucous live performances. [May/June 2008, p.94]

Lykke Li manages to combine Feist’s beautiful crooning with Robyn’s playful spunk in her own impressively unique way.

Darnielle displays a newfound glimmer of strength adorning his melancholic tales. [Oct 2006, p.122]

Sound[s] like the most genuine "no wave" tribute album yet. [Jun 2004, p.83]

It is quickly clear that Gotan Project have focused and finely tuned their mission during their hiatus. [May 2006, p.86]

An ass-kicking sophomore effort. [Mar 2006, p.111]

A very dark album, yes, but Raposa's ability to convey much with little usually results in a fragile and gloomy beauty rather than mopey dreck.

buzzes. His talent as a musician shines through in his ability to avoid having his theoretically contrasting influences sound forced together. If anything he has made them compliment each other.

This isn’t exactly a new Wu album. Just think of it as a nice experimental side-project--one that’s 10 times better than their last major one.

An album that masks its bite with sounds of familiarity and demonstrates Thibodeau's uninhibited emotion with full-scope 20/20 vision

As for the songs themselves, putting aside tragic and Autotuned context, some work and some don’t.

Black Kids' conviction and raw talent has made for a record that far outshines a majority of their blog brethren. [Jul/Aug 2008, p.84]

With production skills that some say are comparable to Madlib and the late J Dilla, we can say, overall, his cutting-edge sound makes Out My Window lovable, fostering the mood of a carefree summer day.

Finds [Bachmann] in a maudlin mood. [Apr 2005, p.108]

While conscious rap often comes off as dour, this is a thoroughly enjoyable record, dignified and jiggy all at once. [Mar 2003, p.94]

[A] funk dub electro carb-filled gem. [Sep 2004, p.117]

The most inspired batch of caffeine-fueled and jumped-up party favors you'll hear all year. [#104, p.95]

Standing on Top of Utopia is a strong album, but utopia also means “an illusion”–a non-existent place–and sometimes it sounds like too many moods under one cover.

Immolate Yourself picks up exactly where they left off, with a sound much more mature and textured--coming complete with its owned imagined world--fully equipped with freeform dynamism of a celestial and delicate styling.

Weareallgoingtoburninhellmegamixxx3 is El-P at his weirdest and finest, a dystopian symphony of other-worldly drums, funk horns, and brilliantly-culled samples.

Ringleader is Moz at his tormented best. [Apr 2006, p.88]

A wonderfully challenging album like its three predecessors. [Oct 2002, p.98]

Despite waiting four years since getting noticed, their throwback beats and rhymes still hit things right throughout their LP debut, When Fish Ride Bicycles.

This album is an ideal response to claims that electronic music has no soul. [Apr 2005, p.100]

When Machines Exceed Human Intelligence is the perfect musical equivalent to our relentless dependancy on technology.

He finally seems to be combining alll of his varied interests into a complete package more substantive than his earlier, smark-alecky adventures. [Mar 2004, p.108]