Beautiful. [Apr 2005, p.108]

Annie explodes with a white-hot teen spirit that shames 99% of what passes for pop in America today. [Jun 2005, p.76]

Elsewhere is exactly what you thought it'd be: a daring piece of work from two artists not afraid to take chances that pay off. [May 2006, p.81]

Dependable? Yes. Beautiful? Definitely, yes. [Apr 2007, p.107]

Cold and sweet all at once while perched atop a reef of moody Krautrock, Let the Blind Lead has a progression that melts more than it floats.

Like attending a bombastic revival of Kraftwerk, Eno and Devo presided over by a Juan Atkins and Derrick May DJ tag team. [Jul/Aug 2005, p.102]

Rather spectacular. [Jul/Aug 2004, p.126]

The ’Hunter may not have bagged a 14-point buck this time around, but Microcastle is still good enough to stuff and mount on the wall.

Black Dialogue has finally captured the Perceptionists' on-stage charisma and fraternity. [Apr 2005, p.103]

As always, Doom steps up and kicks out clever lines with the ease of someone still not bored with their talents. [Jan/Feb 2005, p.93]

Lif's strengths as an MC make his tight narrative focus on the protagonist's plights palpable. [Sep 2002, p.104]

A wonderfully dance-ridden companion ot the intelli-disco carved out on 2005's The Sunlandic Twins. [Jan/Feb 2006, p.81]

What Sufjan did in The Age of Adz is so beautiful and rich and complicated; he ended up telling the story of what life is for so many people who just end up turning the gears of the larger machine.

The Shining stands as a combination of Dilla's best sides. [Jul/Aug 2006, p.130]

Icky Thump is a fearless album, braving a bold bunch of weird rock transformations: slick studio radio glam, southern jukebox boogie, Scottish Highlander mandolin jaunts (!!), stuttering mariachi machismo, comedic skits, etc.

The Norwegian maestro of disco, Hans-Peter Lindstrøm, teams up again with Christabelle (also known as Solale), and together they craft a masterful 10-song pop album.

Each song is perfectly buoyant and bold standing alone or considered on the whole. [Jan/Feb 2006, p.95]

A definitely worthwhile rocker, but nothing you'll raise an eyebrow at. [Oct 2005, p.76]

It's the album many heads wished Lauryn Hill had come back with instead of that weepy acoustic exercise. [Mar 2003, p.94]

This is Kelis' big moment, and she more than rises to the occasion. [Feb 2004, p.82]

Terse bass and faux-African rhythms that recall [the Talking Heads]. [May 2005, p.93]

[Their] rain-soaked misery [is] now nicely offset by a simmering rage. [May 2006, p.82]

If IDM is that pudgy guy with the thick glasses who won't shut up about Buffy The Vampire Slayer, Gold Panda is the shy boy in the corner that somehow gets the coolest girl at the party to make him breakfast.

Using familiarity to its advantage, this duo is smart to refine its palette, making even the most migraine-inducing compositions seem like comforting lullabies.

Ultimately, Xiu Xiu builds something sacred from tiny moments of pain. [Jun 2004, p.90]

To fans that listened to Rage as a means to get "pumped up" and bring the "mosh" you’ll probably be disappointed by the lack of work out music. But to the fans of Zack’s militant poetry, listen and enjoy.

A fluid transition is made into album closer Circulation, an exhilarating piece where the not-so-secret-weapon, drummer Moses Archuleta propels the band through the universe that's made Deerhunter's records so repeat-worthy; that place where reverbed typhoons are miraculously contained and space is somehow kept taut.

Black Milk, Guilty Simpson & Sean Price have that triple threat chemistry a la Jason Terry, Tyson Chandler & Dirk Nowitzki. Any album that makes you want to cop the instrumental version gives it legs and Milk has clearly emerged as one of the top producers in the game.