Thorburn’s second record writing songs with the group Islands shows admirable ambition and eclectic musicianship. What hinders this release, however, is a matter of composition.

When there are moments, they strike and wittingly pull bodies off seats. [Oct 2001, p.128]

Eccentricity is what defines Grampall Jookabox and their sophomore effort Ropechain, but that doesn’t make it any less listenable. In fact, Ropechain has its fair share of fine musical moments that actually benefit from the bizarre tendencies of the group.

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]

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

Is not a very interesting album for a number of reasons. [Jun 2003, p.94]

The music is fresh and rather hypnotizing.

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]

Emo/indie/pop rock for people who don't like emo/indie/pop rock. [Mar 2006, p.123]

Dissolver is a serviceable pop-rock record that would have benefited from being subject to more of the band’s experimental tendencies, a missed opportunity for the trio to release a cutting-edge yet accessible set of music.

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

So while the music on this disc might not inspire a wave of followers and imitators like his Pixies days, Thompson is clearly having a lot of fun cranking out his latest batch of rock ‘n roll surrealism.

A group this weird and quirky should be able to produce dozens of albums that never loose their delicious twee taste. Perhaps what FF should try next is trying nothing at all.

M83's new effort saunters like a slow dance from "Sixteen Candles." [Mar/Apr 2008, p.109]

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]

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

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]

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]

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

Get Awkward showcases a sound reliant on the push and pull between a band whose middle ground is fun.

The album feels like a series of diminishing returns. [Feb 2003, p.93]

Eschews gauzy isolation to embrace the heartfelt immediacy of chiming, breezy pop in a Big Star way. [Jun 2006, p.119]

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

Filtered drum patterns, neo-gospel arrangements and plaintive piano jams, along with curious and catchy enough melodies, obscure Cudi's guttural talk-raps for a bit.

It's clever and interesting, but it's hard to escape the feeling that an opportunity to expand and mutate his sound even more went partially wasted. [Apr 2005, p.104]

Even listeners who retreat to the "experimental" defense will only mixtape the five decent tracks and torch the rest. [May 2006, p.84]

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