M.I.A.'s singsong cadence is both child-like and streetwise, perfectly mirroring the smiley-faced menace of the electro-informed palpitations behind her. [Mar 2005, p.113]

Despite the scattered feel of the album, its individual components are undeniably solid and easy to listen to.

Immolate Yourself picks up exactly where they left off, with a sound much more mature and textured--coming complete with its owned imagined world--fully equipped with freeform dynamism of a celestial and delicate styling.

Hip-hop, soul, reggae and other influences are skillfully interwoven into a consistently strong whole.... An engaging, intelligent album. [#82, p.146]

King as album title is ambitious and King as album finds T.I. firm-footed in his role as such. [May 2006, p.95]

Though it's a letdown to revisit [the five EP cuts] in place of new material, "Those Were the Days," "My England" and "Love Me or Hate Me" make up for it largely. [Oct 2006, p.115]

Modest protest songs, lack of money and painful love is the platform on Good Things. He deals with hardship in an uplifting manner and with smart lyrics.

Imagine Four Tet with a band instead of a laptop and you're getting close. [Jan 2004, p.78]

Simon Green stands with a select group of musicians who have been consistent in both quantity/quality output of this type of introspective music. Bonobo's Black Sands is an album that should not be missed and is undoubtedly one of the most superior releases of this year.

There is something uniquely authentic about Mason's music. [Mar 2006, p.114]

As emo-tastic as Threes is, it merely sizzles in ways their debut singed. [Oct 2006, p.128]

Each track on Seventh Tree is a picture that stands alone, but in its entirety the record works as a landscape decorated with guitars and pianos spread over hills of upbeat drums as strings and woodwinds line the sky in the background.

The production is fantastic, De La go in with the lyrics and Flosstradamus tied everything together perfectly though.

Like much of the dark electronic pop that's come before WhoMadeWho's latest, the drive behind the music is the key to success.

Whereas past Wu albums have been scorned for their filler, Meth, Ghost and Rae leave plenty on the chopping block this time around, only allowing the best of the best to make the cut on Wu-Massacre.

The Shining stands as a combination of Dilla's best sides. [Jul/Aug 2006, p.130]

The Brothers reach unmistakable heights of blood pressure... but also deliver slow, melodic goodies. [Oct 2006, p.118]

British Sea Power have shown their competence and achieved another level of musical integrity--the album, perhaps best enjoyed when paired with the film, nonetheless holds its ground as a standalone product, expanding the mise-en-scène of the film enormously and contributing to the documentary (if perhaps problematic) legacy of Robert Flaherty’s work.

Experienced as a whole, Condors is a multi-course meal that features some familiar dishes and some foreign with ingredients that require a bit of acclimation-but they're all delicious.

Experiencing multitudes of brief bangers is a rare treat. [Mar 2006, p.113]

Both a return to form and a major step forward. [Dec 2005, p.94]

Albarn claims this album is a letter to the London of today, but it's impossible not [to] get swept into the grandfatherly smell that permeates every number. [Dec 2006, p.127]

This live album may provide an aperitif for those who've never seen the band perform. [May/June 2008, p.93]

Black thrives on his own, finding strength in lyrical risk-taking that ultimately makes the Milk name ring thicker and sweeter than ever before. [Nov/Dec 2008, p.84]

9th [Wonder]'s impassioned beatwork's sole shortcoming is there's not enough of it, as this album runs less than 40 minutes. [Apr 2004, p.83]

They still manage to inject their manic bursts of beats with gentle, even sweet melodies immersed deep in the cacophony. [May 2005, p.84]

All the same basic elements--classic synth leads, intricately pulsing rhythms and pop vocal stylings--are back again for It's All True, but for this album the screen is completely gone, and Junior Boys are as front and center as they've ever been.

[A] full clip of club bangers and radio rockers. [Mar 2004, p.108]