The songs are expertly arranged and succinct, staying away from the lengthy workouts of most of his DFA contemporaries. [Jul/Aug 2008, p.84]

Seductive, lovely and OK to like. [Mar 2006, p.116]

Radio 4 borrow, like everyone else, but they had the idea to borrow before most on the map. [Jun 2006, p.114]

The album overall shines with Martin’s production, with chills provided by filters, reverberation and the sense of shaken souls crying out each track in the album.

Magic Numbers have pushed their abilities while keeping their strong points on performance and substance. [Mar 2007, p.100]

Matching catchy pop songs and good production to hip-hop's most wanted, it all comes full circle in Straight No Chaser.

[A] well-programmed compilation. [Jun 2005, p.79]

Devoted fans need not worry, though--the album still holds the melancholic flavor they’ve come to perfect, just with some added twinkling synths, hints at old-school R&B, and a splash of funk for good measure.

There are points during the disc when you wish the rollercoaster would relent, but that is beside the point: Fol Chen are pop experimentalists, deft song-writers and immaculate producers who have a lot to say – so hang on!

If you’re wondering what electronic music is missing, look no further: Scars should serve as a reminder (if you needed one) that Basement Jaxx are an essential piece of the puzzle.

Truly strange and beautiful. [Jul/Aug 2005, p.102]

HEALTH will still be written off as noise, but for fans, it sounds like the quartet tapped into its groove.

Prefuse 73 lent a huge hand as far as the production on the EP and (not surprisingly) they are on to something with this music stuff.

An album one suspects will age extremely well. [Mar/Apr 2008, p.106]

While filled with warm analog electronics and is borderline ambient, Thomas manages to execute it in a tasteful way.

Lewd and wonderful. [Apr 2005, p.103]

Winner of the “Best New Act” award at the Danish Grammys, Choir of Young Believers’ debut is like summer itself--over too soon, but a tremendous joy.

Evidence that these musical minds are sharper than ever. [Jun 2004, p.87]

Love 2 is a pleasurable and satisfactory record, one where every track provides just what’s needed and sets the stage for a new composition to step in and carry the beats to their finale.

This is an album that seeks to push boundaries, and succeeds. [May 2004, p.84]

With Merriweather Post Pavilion, Animal Collective have proven themselves to be at the forefront of progressive pop, as deadly with their textures as they are with their melodies.

The guys do an incredible job of combining both the “Diplo” and “Switch” styles with that of Major Lazer, while still paying respect to a genre they clearly love.

Majestic, glorious and not like much else you've ever heard before.... A strong contender for Album of the Year. [Mar 2004, p.107]

Their precise work is only weakened by 2 anemic post-punk tracks, but 9 out of 11 ain't bad. You should expect to hear a lot more from the duo in the instant future.

The anonymous producer behind the work of Burial is letting his dubstep sounds progress and on his impressive sophomore album he can be found chasing the transient hints of beauty to be found in the confines of urban desolation.

Their sound is an interesting polyglot, one as easily accessible to dance minimalists and brown corduroy-wearing emo boys, and with nary a compromise. [Apr 2004, p.86]

Switching, flexible, rug burn reverberation. Of Montreal’s pretentious compound syllables titillate mind and body, catcalling strangers walking down the street you imagine naked, whose vocabulary is as ripped as the holes in their shirts.

You'd have to hate life not to eat this long-awaited, sugar-coated anthology up. [Mar 2007, p.98]