Too often we get ill-fated experiments in electronic circa 1997 and overly polished replications of their biggest hit to date, "Electrify." [Sep 2004, p.116]

For those who used to throw parties, but now have dinners, Kings Of Convenience will bring desert and a bottle of expensive red wine. [Oct 2004, p.103]

Like many bands before them who similarly created magic with their debut albums, this Brooklyn trio can't quite harness the same level of energy for their sophomore effort.

Listeners hoping for a radical departure from previous outings may be disappointed to find that the disc doesn't necessarily break new ground... [Sep 2001, p.152]

The record is a winning release, if not entirely novel, and the sound of a likable band honing their sound while refusing, somewhat obstinately, to alter it.

A diverting listen. [Jun 2003, p.94]

Berlin's long-running tendency toward grit-glitz, which musicians from Bowie to Peaches have channeled in their work, is the inspiration for this fourth record of functional fun.

Beatwise, Playtime culls Wiley's best dubs from the last year, with tracks like 'Bow E3' and '50/50' flexing textbook mastery over grime's sludgy polyrhythm.

Despite the fact that the album is largely a deconstruction of masculinity vs. feminity, Yo Majesty isn’t afraid to tone the sex down to hop on the progressive tip. 'Never Be Afraid' displays the cosmic gospel of Jwl B. However, this retreat into tamer territory isn’t indicative of weakness; chalk it up to what is actually a significantly well-rounded and versitile rap duo.

Predominately shimmering and languid, at its raciest Divine Operating System achieves a poppy, disco canter that trades ass-slapping soul for sleek sensuality. [Sep 2002, p.104]

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

A big, heaping spoonful of bland. [Mar 2007, p.96]

Earnestly sung lyrics in the vein of Jack Johnson or John Mayer, 80s-style instrumentation (percussion, guitar licks, synths), and constant rhythmic switch-ups are elegantly crafted. This album isn't boring, it's just too polished for the raw sounds and styles it draws influence from.

Another befuddling album that offers what seems to be a gigantic middle finger bookended by disrupted toe-tappy pop numbers. [Oct 2002, p.96]

We Can't Fly is over the top, trying to embrace everything Vito De luca ever loved about radio, or all the music he ever loved, period. It's a cosmic mess of styles and guests. People who are fans of his DJ sets will not feel at home in this setting, with no crowd pleasers except for the title track.

Everything Goes Wrong is not a brazenly experimental album, nor is it rootless and shifting for cohesion.

Despite some other choice cuts, there’s no cohesion to hold it together.

Taken as a whole, the album does have a certain cohesiveness that’s lacking in most dance “albums” but many of the tracks fail to break new or interesting ground, and it leaves one wishing their potential of last summer could’ve been realized.

Distracting at times is Thomas’s voice--he seems to take pride in being purposefully off key--but breezy opener “Girls FM” and later the low key “Eyes Music” calm his shrieking affinity and keep him just where he needs to be; melodic.

Trash, Rats and Microphones is tailor-made for the contemporary electro-crazed (dance like tomorrow ain’t promised) landscape.

With partner Panda One, they unleash a concoction of soul, electronica and disco that’s occasionally bizarre, but consistently funky.

Japanese Motors’ debut is a solid dose of garage pop, but chances are, it won’t change your life.

Certainly a nice full-length, though it would be interesting to see what a vocalist could add to their formula . [Jun 2004, p.86]

A few of these tracks feel more like unfinished sketches than completed songs, but if it's sparse folk-noir you're after, why? delivers the goods. [Aug 2003, p.90]

A sincere winner. [Mar 2006, p.123]

Sol-angel and the Hadley St. Dreams boasts Thievery Corporation at the production helm, giving little Knowles' album a sophisticated sonic texture of jazzy pop, lounge inflections, and brassy drama.

For those who've wondered what The Who's rock operas would sound like if rerecorded by Captain Beefheart and Stevie Nicks, it's time to break the rules. [Oct 2004, p.103]

No boredom here. [Jul/Aug 2005, p.108]

The album certainly excells when the faux-accent is beaming British. When it isn't, the album can grow monotonous but overall, Brain Thrust Mastery keeps the trash smelling absolutley delightful.

It's a mix of contemporary hardcore and vintage Squarepusher where he never lets things settle, scrabbling away with sublime and obnoxious results. [Sep 2001, p.152]

It’s a welcome return to “vintage” Stills, after an attempt at stylistic departure (2006’s "With Feathers") was met with lukewarm critical reception.

All in all, it seems like the diva needs a little drama to get it percolatin'. [Mar 2006, p.123]

If nothing else the lyrics are rich, although it gets tiresome to hear song after song of psychedelic fairytales over spaced out chimes and strings.

Having waited four years for this new record, Faint fans anticipating a return to the throbbing mechanical heart of darkwave and disco will not be disappointed.

What may be most surprising here is that the Allstars have dipped their toes into the previously uncharted waters of pop songs. [Mar 2002, p.116]

In the clubs, Baby Monkey will find a welcome family. [May 2004, p.87]

A strangely satisfying pop record. [Jan/Feb 2006, p.92]

[Contains] scattered but affecting shots of brilliance. [Oct 2006, p.117]

Maritime won't be able to distinguish themselves from others, but they have an amazing ability to create songs like "Tearing Up the Oxygen," which as a pop-play on words with a sense of realism. [Apr 2006, p.97]

It's unfortunate that "Interscope Jackson" spends so much time here trying to ply believable tough talk--highlights arrive when Fiddy embraces his current, lavish lifestyle.

Like all exploratory trips, sometimes he has prophetic visions and sometimes he just rolls around a lot. [Oct 2002, p.94]

Yet Jamie T is a pop nihilist, to the degree where his lackadaisical lyrical knack, indolent hooks and skeletal beats give the listener a peep into what it truly means to be the average, youthful bloke.

Orbital's swan song is a welcome addition to an epic, if uneven, catalog. [Oct 2004, p.104]

A few tracks bump, but for the most part, Lord Jamar's production couldn't make punks jump up, much less get beat down. [Sep 2004, p.114]

Updates the happy-fi Plastilina Mosh sound into a pop-friendly mix of hip-hop, funk and lounge-y atmospheres. [May 2002, p.116]

The extended running time of Young Miss America starts to act against Lafata toward the full-length's end. [Jun 2003, p.93]

With the first release, Chemistry, you would think some experimentalism was going on--but it isn’t. That’s not necessarily a bad quality, but the lack of daring pushes this release into the mediocre pile.

Like Stereolab backed by the Muppet Babies. [Jun 2006, p.114]

It’s enjoyable as easy-listening, but there’s nothing about Climb Up that truly grips you. For that, APSE will have to exist in electro-rock mediocrity for the time being.

The music is fresh and rather hypnotizing.

Dalek is like a fine beer...it is an acquired taste, but once you get past that part, it is delicious. This is demonstrated well on Gutter Tactics, his newest release.

It goes down like a cold fresh glass of Jazzy Jeff and the Fresh Prince, circa 1988. [Sep 2003, p.102]

If you’re interested in Keating’s deck work or Lord’s acid rock breakbeat, their Black Ghosts mixtape will set you straight, but this partnership has manifested considerably deeper songwriting skills for both of these guys.

It simply doesn't satisfy. [#90, p.115]

Dystopia pop at its most intriguing. [May 2005, p.93]

Suffers slightly from pasteurized cheese. [Oct 2006, p.120]

The lyrics are largely uncomplicated musings about disastrous love and lust but the band manages to broaden its musical style without compromising its core identity. A solid next step in the band's evolution and not a bad listen either.

The album engages after repeats, but initially offers volume's immediacy over intimacy.

It's clear that we have a gifted songwriter on our hands. [Jul/Aug 2006, p.117]

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

Everywhere At Once, LB's Anti-debut, is also a practice in nostalgia--but it's decidedly more me-centric in execution. [Mar/Apr 2008, p.109]

All good, but not quite great. [Apr 2004, p.85]

Worth the wait, Knowles West Boy provides a uniquely varied soundscape from an equally enigmatic musicmaker. [Jul/Aug 2008, p.87]

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

Although at times the tunes become monotonous, the brother and sister group show that they’re going to be around for a hot minute, cranking out anti-Disney channel ditties in the name of all things punk.

Jel's cagey, chunky breaks interlace into stereoscopic head-nodding noir. [Mar 2006, p.113]

Sure, she may not have as many debauchery-tainted demons to exercise as the Winehouses or the Holidays but that doesn't make 19 boring. [Jul/Aug 2008, p.88]

Even though Prekop and Prewitt continue interlocking their guitars over spiny rhythms from McEntire and Calridge throughout the set, something doesn't quite click often enough this time around. [Nov/Dec 2008, p.87]

This girl's gritty production and fluid time signature shifts make for an intriguing listen. [Oct 2001, p.134]

NY's Finest shows glimmers of what Rock can do, but it's unfortunate the album came out before Soul Brotha #1 was warmed up.

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Emphasizes stripped down drums & bass. [Apr 2007, p.102]

Their sound has life, culture and tiny details that could only be developed from a wide variation of instruments and worldly inspirations.

Following a seven year gap between studio albums, Sacramento's CAKE is back with the compelling, yet inconsistent Showroom of Compassion.

While it misses the suicidal rush of imminent destruction, Evil Heat still sounds dangerously rash. [Jan 2003, p.76]

Amid all the beaming newness of Radical Connector is something familiar and unsettling. [Sep 2004, p.116]

More Libertines than Franz Ferdinand, the Futureheads deftly move away from being pigeonholed and reward listeners with a complex album of pop gems. [Jun 2006, p.111]

This quirky little record shouldn't lose any old fans and may just gain her a few new ones. [Apr 2007, p.108]

His vocal patterns on None Shall Pass are enthralling, but they mean absolutely nothing. [Sep/Oct 2007, p.127]

Although this album is an improvement from his previous work, to fully understand this album (and his work overall), you must see him live.

Though varying little from past Tyde albums, Three's Co. is a welcome tribute to summer. [Sep 2006, p.139]

Builds upon the familiar grab bag with the addition of a trippier, more psychedelic vibe and high-profile, pop-minded guest vocalists. [Mar 2005, p.114]

While not up to par with either of their previous albums, Bee Hives is certainly a pretty, if uneven, addition for fans. [Jul/Aug 2004, p.124]

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

Good guilty pleasure music. [Oct 2005, p.76]

Treasure's aggressive style deftly balances Cad Petree's more melodic side, and sees the band straddling the line between insistent, hard-hitting rock and Coldplay-esque balladry. [Nov/Dec 2008, p.87]

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

Scale slips into un-passionate, boring territory--in part due to the vocalist, who make sthe whole thing sound somewhat homogeneous. [May 2006, p.86]

Beans and Subtitle are especially fitting on vocals, since both are as loopy as the beats. [Sep 2004, p.115]

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

Quite boring. [Jul/Aug 2006, p.125]

A refreshing batch of summery, carefree downtempo songs. [May 2004, p.85]

The blues stomps have been muted, and none of the 11 songs are her own. [Oct 2005, p.110]

An odd album... this might well have been called Badly Drawn Boy: The Musical. [Oct 2006, p.117]

Bunkka has the savvy and brass tacks to challenge even the Jedi master of music/marketing synergy, Moby. [Jul 2002, p.97]

While the new songs don't reach that across-the-board crossover appeal, there are some synthed-out gems that get a proper unveiling. [Nov/Dec 2008, p.86]

While Kesto's sweeping scope is impressive, this long-player is best reserved for cold winter evenings and late-night introspection. [Jul/Aug 2004, p.126]

Fans of Bubba's previous Southern-inspired offerings will delight in these extra helpings. [Mar 2006, p.122]