The vocals are where Murphy has developed the most, trading in his Mark E. Smith yelp for various crooning styles. [Jan/Feb 2007, p.75]

Still more for headphones than headspins, but offering plenty for the heads. [#104, p.96]

With entertaining lyrics and even better themes, yU draws the listeners to his adventure that is The Earn.

But if this is not a problem for you (there’s hardly a word of English), then you’ll enjoy the warm dialogue and glacial crooning of an ancient tongue presented over a psychedelic mix of some of the dark continents finest.

Every song on the 52-minute masterpiece builds and bridges until everything self-destructs and the only thing left to do is dance. [May 2007, p.92]

In an industry flooded with trumpeted artists not worth their weight in salt, Bon Iver's abstract ruminations more than warrant the hype.

While How I Got Over is cut from the same cloth as their last album, the fabric of it is unique to itself. It's dark and tragic in places, but also enlightening and empowering.

Immersive and woozy, brittle yet supple, a twittering, throttling piper of spectral drones. [Jul/Aug 2004, p.126]

The songs are expertly arranged and succinct, staying away from the lengthy workouts of most of his DFA contemporaries. [Jul/Aug 2008, p.84]

This [is] all the Kraftwerk you need, if you didn't need all the Kraftwerk ever made. [Jul/Aug 2005, p.106]

Space Is Only Noise is not a perfect album, he could have done without the fillers, but it's a perfect listening experience.

It's mostly about a rollicking anti-frat party, where grizzled indie kids take ecstasy and discover the primal appeal of the dance floor. [Mar 2005, p.112]

Explores the previously uncharted territory where shouty alt.rock meets a cappella vocals and skinny-tied new-wave melody. [Nov 2004, p.99]

Ali's lyrics and Ant's production have more to say in a few bars than most MCs and producers are able to in an entire song.

What I realized listening to this studio masterpiece is that Phonte, Dwele, and Aloe Blacc are all former MC's with new grown and sexy albums out this year worth purchasing.

[A] full clip of club bangers and radio rockers. [Mar 2004, p.108]

Nearly every song here can be called seminal without the slightest flinch. [Oct 2002, p.102]

It's hard to leave your comfort zone, especially with unrealistically high expectations, but the band successfully redefines itself without alienating their core audience. Welcome back, guys.

An utterly modern, far-out reverie of an album. The whole thing works like a charm. [Oct 2001, p.128]

9th [Wonder]'s impassioned beatwork's sole shortcoming is there's not enough of it, as this album runs less than 40 minutes. [Apr 2004, p.83]

The band seems more comfortable in the studio than ever. [Aug 2003, p.88]

With an awe-inspiring imagination in tow, Edan drops his own distinct magical mystery tour. [Apr 2005, p.101]

It's almost like Subtle, as a collective, is afraid of letting loose or having too much fun. [Oct 2006, p.130]

The Budos Band III is a remarkably cohesive album, and despite the lack of surprises, it's one tremendously enjoyable listen.

Combine some of the best pipes in the game with Grizzly Bear's newfound comfort in executing the grand & epic, and you've got Veckatimest; a total triumph that threatens to dwarf their own previous "House."

A perfect album. [Sep 2006, p.143]

They rant and roil through aggressive blasts of adrenaline and youth... like their nads are on fire. [Jan/Feb 2005, p.94]

She surpasses the level of comparatively hook-heavy songwriting set with The Milk-Eyed Mender by evoking a dramatic weight people will still be talking about years down the line. [Nov 2006, p.137]