Political agenda with raw AC/DC chords. [Dec 2005, p.105]

The songwriting here is stellar enough to overshadow the caustic manner in which Sam Merrann screams simply for the sake of screaming. [Mar 2006, p.119]

Nothing stays as it seems for long, but the dense ethereality they've created with Narrows definitely leaves a lasting presence on even passing listeners.

A lively collection. [Sep 2006, p.132]

So who cares if Esser is clearly a product of his environment, right down to the post-Millennial Morrisey pompadour. Put him in line with several decades of British music that will always satisfy the NME reader within.

This album has a '60s folk-rock quality that's earnest, sweet and open. [Sep 2006, p.136]

It's a delicate album that's simultaneously sophisticated and warm. [Apr 2007, p.106]

Monkey: Journey to the West is a testament to Albarn's versatility as a musician and his melodies' ability to avoid becoming losing their power in translation.

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

More Heart Than Brains is a title that perfectly captures the spirit of this album.

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

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

Instead of just blowing the dust off of relics from his childhood closet, he's embraced the neon ehtos of the era and produced and actual New Wave album that still sounds eerily contemporary. [#90, p.118]

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]

With Screenings, Herren continues making complex compositions sound wonderfully smooth. [Mar 2006, p.116]

[Their] rain-soaked misery [is] now nicely offset by a simmering rage. [May 2006, p.82]

Every song ends like a firework finale and fragile chords explain more about the human condition than words ever could. [Jan/Feb 2006, p.78]

Franti's most eclectic offering yet. [Jul/Aug 2006, p.116]

Watersports sets itself up nicely for some critical acclaim, and its multi-genre versatility will make it easy for people of all musical tastes to find something to enjoy.

We know everything about Marshall Mathers...and on Relapse, he leaves Marshall behind. Instead, he embodies characters that we know aren't him, but allow him to re-channel the shock-and-awe rebellion (and skill) that made him great in the first place.

The contrasts, themes, and sheer eclectics of the album make for something that any one person can listen to, and relate to.

Signals something of a rebirth of their signature creativity. [Jul/Aug 2004, p.123]

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]

The shimmering dream pop of the band’s debut is surprisingly accomplished and self-assured, a rare shoegaze-styled album that isn’t hellbent on aping the genre’s luminaries.

Despite the fresh reworking, tracks like "For An Angel" and "Another Way" retain the heartfelt with synthetic, catchy cores that made them such beloved trance anthems in the first place. [Mar 2003, p.99]

At worst, A Strange Arrangement has a couple lulls; at best, it’s one of the most enjoyable records of the summer. Highly recommended.

Love Is Not Pop is many things; a comeback of sorts, a refreshing hybrid of exquisite production and emotional intimacy--but most immediately, it stands as an essential mood piece for these crisp air days, light fading early into dark.

The excellent Power In Numbers finds the group inching toward the future with a fuller sound and different looks. [Oct 2002, p.94]