At the same time you contort, squirm and surge toward the non-music, your spirit somehow gets the message. [Oct 2006, p.132]

In Alpinisms, School of Seven Bells have themselves one of the year’s most intoxicating debuts.

It all adds up to the effect of watching American Graffiti while plugged into a morphine drip. [Jul/Aug 2005, p.105]

Easily one of the best albums of 2003. [Jul 2003, p.94]

The young studio maverick has given us something entirely new, but it's not perfect. It's not an inconsistent album, but it has a few unnecessary fillers. His unrestricted, deconstructed, sparse and minimal productions are unique and he deserves all the hype surrounding him.

Maybe that's how we need to view this record--a little less anxious in our anticipation and balanced out with a little more enjoyment. Then, it just might be a classic.

Beside their standalone sharp sensationalism, 'Heavy Heart' and 'The Band Marches On' breast a melodic acuity that begs to be ripped and shredded into anthemic dancefloor permutations.

Jay Stay Paid is a smooth hip hop ride. It is an effort that should be applauded and J-Dilla is a producer whose contributions will be appreciated from years to come. This album is another piece of evidence that testifies to that truth.

10 tracks of pure seamless joy.

Overall, Science expands the band’s already-vast palette that continues to defy and recontextualize any definition of a “rock” band.

[The band has] gotten down to the more important work of constructing airtight grooves with just enough weirding-out to show their legion of followers that it takes more than a drummer with good 16th-note skills to rock this party right. [Mar 2007, p.96]

Rated O is relentless enough and mean enough and playful enough to rope us in for 3 albums worth of music.

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.

The music pulses with a shimmering, spine-tingling blend of moodiness and vitality. [Sep 2002, p.102]

It's always amazing to see a band eclipse their influences. [Oct 2005, p.77]

For Living Thing, they ditch the comfortable confines of the airy, featherweight pop they perfected on Writer’s Block for more sonically adventurous territory and prove in the process that their prior success was not just a fluke.

Swanlights is seemingly effortless - the mark of a master at work.

These Thieves have finally come into their own, developing a sound that's growing increasingly distinct. [Oct 2002, p.100]

Instead of hip-hop, Betke now appears inspired by the hypnotic riddims of Krautrock and the New York art-dance scene of the 1970s. [May 2007, p.97]

To fans that listened to Rage as a means to get "pumped up" and bring the "mosh" you’ll probably be disappointed by the lack of work out music. But to the fans of Zack’s militant poetry, listen and enjoy.

The album captures the band's unmistakable sound but they've also added some new flavors. [May 2006, p.91]

They take their place among the scruffiest, ugliest and most crowd-pleasing bad guys the West has ever spat out. [Sep 2006, p.131]

It stands out as a piece that’s refreshing, bold in musicality, and still defiant as ever--just the way we like our Gossip.

That sweet spot between the dancefloor and the moshpit is something that more and more electronic acts seem to be pursuing these days. Freeland shows he's still a vet of that particular tightrope.

Post-modern pop hasn't sounded this good since the Postal Service. [Dec 2004, p.110]

Trippy vocal distortions, rock guitar, and the either enlightening or bewilderingly entertaining lyrics create what the younger audience commonly refer to as “The Shit.”

Positively electric. [Sep 2006, p.143]