In The Mode is at its most invigorating when it eschews the now tired-sounding rare groove and cool-jazz format of 'New Forms' for a sound that combines more bounce-friendly radio sounds with a hint of menace. [#79, p.136]

Majestic, glorious and not like much else you've ever heard before.... A strong contender for Album of the Year. [Mar 2004, p.107]

Ghost Colours sounds like Depeche Mode on Lorazepam--dramatic, well enunciated and full of arpeggiated synthy goodness.

A complex, avant-garde amalgamation of styles for only the most adventurous ears. [Aug 2002, p.116]

The Campfire Headphase is enough of a genre bender to finally introduce this music to a well-deserved new audience. [Dec 2005, p.94]

Rounding out the record with the 15+ minute 'Sequenced,' we're dropped back into the slow catatonia exhibited earlier on--and while this is a perfectly nice place to visit for a quarter of an hour, it may leave you yearning for The Field's previous world of sublime

Exploding Head is a movement deftly capturing atmospheric exuberance.

Submersive, almost submissive. [Jul/Aug 2006, p.118]

The harmonies resonate and the melodies hook into your skull. [Jul/Aug 2005, p.109]

Apparently channeling Stereolab, Dilated Peoples and the ghost of Esquivel, Cut Chemist finds that everything is fair game if you are witty and skilled enough to connect the dots. [Jun 2006, p.108]

HEALTH will still be written off as noise, but for fans, it sounds like the quartet tapped into its groove.

Stainless Style is impressive for so many reasons--'Raquel,' dedicated to Miss Welch; hearing crunk meld with Italo Disco; a Yo Majesty cameo--but it's the utter lack of irony that steals the show.

Unequivocally recommended for the open-minded among us. [Apr 2006, p.86]

The best thing about the second Yeah Yeah Yeahs album is the fact that it defies expectations, yet seems like the perfectly logical next step for such an adventurous band. [Apr 2006, p.81]

Splendid. [Jun 2006, p.111]

The only complaint I have is that this disc clocked in just under 39 minutes, while it definitely wouldn't be bogged down by another 41 minutes of tracks like these. [Jan/Feb 2006, p.78]

An atmospheric and sophisticated album from a promising songwriter. [May 2007, p.93]

Much as it is refreshing to find a spotlight being shone on the psyche of a headstrong young woman, This Week suffers from a frustrating consistency of musical tone. [Sep 2004, p.113]

Not to be taken lightly, dramatic tone and lyrical silliness obscure a sinister impulse throbbing within the album, spitting delightfully mysterious candy machines baubles onto your eager palm. [Nov/Dec 2008, p.87]

It's all clean, instrumental, cold techno. A sparse start builds and warms up to colder, bigger tracks. Along with the Egyptixx record, Fever might be the electronic underdog of the year.

There's More To Life Than This contains no weak tracks, only a few slightly bland moments.

A high-spirited whoosh of urgent dance pop and groovy psychedelic bop. [Sep 2003, p.102]

With this charismatic effort, Sandman has proven to be the audio equivalent of creeper weed.

Truelove’s Gutter is a winner for his fans.

A band/sound that could easily have been a flash in the synth-pop revival pan has actually proven itself worthy of revisit , over and over again.

Although the majority of the album is not that memorable, it is pretty damn warm and infectious.

Displays gorgeous layering amid catchy pop, mysterious Spanish acoustic guitar, and self-effacing lyrics. [Mar 2006, p.118]

It's just all so blissed-out and soothing you won't know what to do with yourself. [Dec 2002, p.92]