The Altogether is, all stated evidence to the contrary, a remarkable work. Why? Because it is the product of two brothers who, understanding that they can kid neither the audience nor themselves, mapped a musical course based on their root love -- musical energy -- and never strayed. [Sep 2001, p.147]

The crew's 1982-ish rhyme schemes and vapid lyrics reach new lows. [Oct 2003, p.85]

Just rock out to some really good music. [Jan/Feb 2005, p.96]

Loyalty to Loyalty, the band’s sophomore release, isn’t as immediately impacting as that first round of songs, but CWK didn’t lose their charm (or literary obsessions), either.

Like the Postal Service's wiser uncle, this is emo-electronic that doesn't whine, but rather approaches with a sense of musical and lyrical purpose. [Sep 2005, p.104]

Despite what the blog-haters might say, Gibbard and Co. more than make the grade. [Oct 2005, p.77]

A post-electronica, post-rave production that jettisons genres and cherishes uncut creativity. [Jan/Feb 2007, p.77]

[A] big, bold, rock-for-the-dance-floor romp. [Jun 2005, p.84]

From the preparation to the club to the dreaded hangover, Weekend takes you all over and in between, and is sure to leave you asking for more.

Polysics' contorted robotones are so hot they should spew from volcanoes. [Apr 2006, p.97]

Next to the Eels and Atmosphere, eclectic and earnest self-examination hasn't sounded this interesting (not to mention entertaining) in a while. [Aug 2002, p.118]

This madcap comp is a blast. [May 2002, p.120]

Touching Down evokes the unique funk sensibilities that made his seminal V Records and Full Cycle tracks so damn fresh, while giving you the sense that England's Bristolian isn't returning to anything, since he never left it behind to begin with. [Dec 2002, p.87]

His electro sound [cannot] stand out through the chaff of a million imitators over two decades. [Dec 2004, p.118]

There are... some impressivley fresh ideas lurking between the anthemic bits. [Sep 2006, p.137]

Gleefully uneasy listening. [Feb 2004, p.82]

While it may be Moby's darkest record yet, Wait For Me should, at very least, serve as an optimistic sign that Moby's independent creative juices are still flowing.

Experimentation and metamorphosis--of sound and of character--are the paragons of this alter ego, and RZA seems to be swimming in both these days. All the pieces fit, and when RZA goes Voltron, he’s at the top of his game.

It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.

It’s not just his vaguely interesting falsetto or all the emoting on his debut; it’s that all those emotions are under the guise of some real heaviosity but really aren’t saying shit.

Magic Numbers have pushed their abilities while keeping their strong points on performance and substance. [Mar 2007, p.100]

The whole act is a gimmick, for sure, and one that wears itself thin awfully quick. [Nov 2004, p.98]

The end result just isn't up to the standards of which either of these musical titans are capable. [Mar 2006, p.119]

A fierce vision quest of psychedelic riffs 'n' roll that manages to sound like hard rock, shoegazer and new rave all within the same song, yet never feeling forced or false. [Mar 2007, p.98]

The synths and cheese riffs have dawdled so far down the path of meaningless self-abuse that they give all forms of masturbation a bad name. [Jan/Feb 2006, p.81]

This record is too flat. [Jun 2006, p.119]

Omni doesn't reach the same dizzying heights that some of their past releases have attained, but it's a solid piece of work. Definitely something to keep blasting in the car for the upcoming summer months.

Starfucker has crafted a solid, catchy, well-produced pop record that should have the hooks and emotional resonance to compete with most indie-rock contemporaries for lovesick teenagers’ iPod disc space.