Doves succeed in giving fans their fix of new music that sounds fresh without altering the formula so much as to alienate any of their devotees.

It’s a strong, deliberate album that is both unsettling and riveting, and absolutely convincing in asserting Crystal Castles’ relevance, and talent.

Long-time Kelis fans might be initially surprised at the sonic switch-up-it's more dance than quirky R&B-but there's something totally right about the way Kelis tackles electronic music.

Fantasies has solid musicianship, simple yet poetic and meaningful lyrics, a myriad of melodies, and hooks that are memorable and exciting.

Delightfully odd, smart and horny, the Maels deliver on time once again. [May 2006, p.90]

An emo-rap fan's wet dream. [Feb 2003, p.93]

All it takes is a spin of their high-steppin' full-length debut to realize that these ladies are worthy of the praise. [Sep 2003, p.101]

King as album title is ambitious and King as album finds T.I. firm-footed in his role as such. [May 2006, p.95]

Winner of the “Best New Act” award at the Danish Grammys, Choir of Young Believers’ debut is like summer itself--over too soon, but a tremendous joy.

Dirty Bomb is a double-edged sword that will undoubtedly rip you apart--but trust when I say it won’t hurt.

A psychedelic journey quite unlike any other that could very well result in the creation of a completely new category of music simply known as Utopia Rap because musically it doesn't get much better than this.

There's a psyche-rock track with UNKLE on here, for chrissakes. But yeah, dude has skills.

The production offers great instrumentation and paints moods very well for Wale and his expertly-picked guest appearances.

Songs are succinct yet maintain an eye for layering oblique, eccentric detail of almost prog proportions. [Jun 2006, p.111]

A really freaky, fun ride into eclectism. [Nov 2002, p.94]

An album full of interesting possibilities, but only a few memorable songs. [Mar 2002, p.120]

Doom still holds some secrets, but his lyricism and feel for the funk sweat out of the this album as much as any of his previous, if not more. He clearly shows that he is here to stay, and if anyone was expecting change, they are looking in the wrong spot.

This is heady material, but it’s also extremely beautiful and catchy, and picks up right where each of their respective solo careers left off.

A raucous blend of rockabilly, country and '80s indie rock best listened to before a heavy night of Caledonian pint-drinkin'. [Sep 2005, p.112]

This isn't the neo-hippie folk of Devendra Banhart, but something far more sinister. [Dec 2005, p.96]

The camp is still there, only now there's a newfound confidence (not to mention skill level) that make this one a winner. [Aug 2003, p.90]

Her rhyming ability is versatile yet non-braggadocios. And it is these ingredients that gives the music world a fresh yet veteran voice.

The studio noodling on Roots & Crowns sounds fittingly organic and effortless. [Oct 2006, p.117]

After five full-length albums, Shame, Shame finds Dr. Dog far from having exhausted their creativity, sounding more passionate and frenzied than ever on what is a lasting testament to their showmanship and remarkably consistent songwriting.

Triumphant. [Jul/Aug 2006, p.130]

Thanks to collaborations with Richard X, Franz Ferdinand’s Alex Kapranos and Xenomania’s Brian Higgins, Annie’s cross-genre “pop with strange edges” still comes together with plenty of bang.

Ecstatic may not be the warm follow-up some people were expecting, but it's an equally fascinating, engaging album. [Jun 2005, p.78]

Red Barked Tree captures the sharp and fiery hallmark defined by Colin Newman, Graham Lewis and Robert Grey some thirty-odd years ago to strike a pressure point relevant to younger generations.