Everything fits in place to up the game of something else, and no part of these finely made blues and soul creations gets a pass on pulling its weight. That’s just how it works for Brothers.

If The Horrors began as a Halloween novelty, Primary Colours is like a twisted ending right out of the Twilight Zone--a hype beast that turned out to be a real monster.

Untouchable. [Jun 2006, p.117]

It's creative, enlightening, and altogether fun.

Unyielding in its murkiness, but all the while strangely accessible, it is a generous full-bodied offering handed to us by these otherwise blurred figures.

Contra is cohesive and concise; it may have the effervescence of California, but it is over in a New York minute.

This is XTC times Elvis Costello plus the finest moments from the Americana greats and then some. [Apr 2005, p.108]

Freedom rock at its most liberating. [Jul/Aug 2006, p.116]

Lyrically, Khan really cuts loose, switching from everyday matters to sinister fantasies, often during the same song, and all with extraordinary confidence.

The Books have found their way out of convention, and they've been kind enough to invite us all along with them.

Sharon Jones & the Dap-Kings are back with their fourth album I Learned the Hard Way. It’s another authentic, heart-felt album filled with heartache and daily struggles.

The young studio maverick has given us something entirely new, but it's not perfect. It's not an inconsistent album, but it has a few unnecessary fillers. His unrestricted, deconstructed, sparse and minimal productions are unique and he deserves all the hype surrounding him.

The vulnerable sound that you known and love--all slide guitar and open chords. [May 2006, p.94]

The music is accessible and poppy without dumbing-down the analog arrangements or their coffeehouse terrorist aesthetic. [#84, p.114]

Los Angeles is a beautifully complex and widespread full-length from one of LA’s most creative and perceptive music producers.

The album overall shines with Martin’s production, with chills provided by filters, reverberation and the sense of shaken souls crying out each track in the album.

Their efforts are ambitious and commendable, but it seems like it will end up as one of those albums that may captivate you for a couple weeks--but will eventually be ousted from your recently played.

Sweet femme fatale vocals, oceanic synth waves and shoegazing guitar riffs abound on these sprawling sound confections. [Jun 2005, p.85]

The Nashville crew's sound has slowly aged from alt-country to Stax-styled soul and now brooding ballads. [Jul/Aug 2006, p.122]

Another impressive and complex recording. [Sep 2006, p.139]

A must-have for true J Dilla fans. [Apr 2007, p.104]

No build-up is too big, no feedback too catartic as this wall of sound is topped by the rising sun. [May 2006, p.94]

Back to Black is overflowing with the '60s Supremes warmth that has been fully absent from the "standards" of today's R&B. [Apr 2007, p.108]

[The appeal] is in the warm, '70s synths that float melodies into the druggy stratosphere, giving the band's shifty downtempo rhythms and vaguely experimental production a retro-sexy touch. [Nov 2002, p.98]

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]

Jay Stay Paid is a smooth hip hop ride. It is an effort that should be applauded and J-Dilla is a producer whose contributions will be appreciated from years to come. This album is another piece of evidence that testifies to that truth.

While his work with Deerhunter remains impressive, Cox allows himself the most freedom while writing as Atlas Sound, and on Logos his risks are all rewarded.

Kindness sounds like the work of someone given one month to live, as Snaith lays down dozens of musical ideas into an album that will constantly keep you guessing what's next. [May 2005, p.84]