The music on this album is inspired and seriously sex-centric, repeatedly connecting politics with physical intimacy. [Apr 2006, p.82]

The cumulative results of his efforts are a masterpiece both dark and striking. Dear is putting forth an open invitation to tour these shadowed places of his imagination, and this is one offer too good to miss.

At Mount Zoomer will get hipsters dancing around once again, but I think the respect and hype is most definitely due to Wolf Parade this time.

Double Night Time unapologetically flaunts its electronic overcoat, and glam it should, given the remarkably clean sounds coming from Geist’s boards.

All the same basic elements--classic synth leads, intricately pulsing rhythms and pop vocal stylings--are back again for It's All True, but for this album the screen is completely gone, and Junior Boys are as front and center as they've ever been.

Koala's comic gestures serve a humble purpose, masking the technical precision that underpins his work. [Nov 2003, p.88]

This impressive album sounds like the work of old souls. [Nov 2002, p.100]

Each track on Seventh Tree is a picture that stands alone, but in its entirety the record works as a landscape decorated with guitars and pianos spread over hills of upbeat drums as strings and woodwinds line the sky in the background.

Soulsavers continue to challenge themselves and are able to produce a great album musically and lyrically. Overall, the album is cohesive and strong on almost every level.

A wonderful, fascinating record. [May 2005, p.85]

A lively collection. [Sep 2006, p.132]

The latter half of Paperwork is a showcase for the lead, at times a tad too comfortable with his unrestrained vocalizations.

An irresistible mix of soul, rock and attitude. [May 2006, p.91]

Hot Chip hasve always guaranteed a certain degree of respect for the listener's intelligence, even on their most fance floor ready album yet. [Jan/Feb 2008, p.102]

Deerhoof reveal new shades of interest that beckon future transformations. [Jan/Feb 2006, p.78]

At the same time you contort, squirm and surge toward the non-music, your spirit somehow gets the message. [Oct 2006, p.132]

Blonde Redhead's most confounding element is also one of their most endearing. With her ethereal, paper-thin voice, [Kazu] Makino often slips frustratingly off-key. [May 2004, p.84]

New Magnetic Wonder cloaks itself in a glow of irrelevancy. But beneath, Schneider's gooey power-pop thrives. [Jan/Feb 2007, p.76]

Bleak and beautiful, Family & Friends is an absolute beast.

Shows exactly what a great, reliable pop entity they have become over the past decade. [Apr 2006, p.82]

Beck at his best. [Apr 2005, p.100]

It's less angular than Fear of Fours but just as convincing--tiny music that thinks very, very big. [Jul 2003, p.93]

Instead of just blowing the dust off of relics from his childhood closet, he's embraced the neon ehtos of the era and produced and actual New Wave album that still sounds eerily contemporary. [#90, p.118]

There may be no safer bet than an Amanda Palmer’s bleeding-heart album--her built-in fan base will eat it up the same way they voraciously devoured Tori Amos’ open wound a decade ago--but the Palmer Show is strong enough to sustain much more daring theatrics than what’s given here.

Discerning heads will notice that the stellar rhyme schemes and heartfelt storytelling resonates much louder than the accent.

[An] outstanding album. [Mar 2005, p.110]

[A] remarkable return to form. [Oct 2005, p.75]