While a handful of tracks may... seem familiar to fans of PiL, Dinosaur L, ESG and Primal Scream, Echoes manages much more than aping influences. [Oct 2003, p.83]

With The Odd Couple, Gnarls Barkley is unable to come up with anything containing as much pure pop power as their hit song "Crazy," but it's certainly not for lack of trying.

This quirky little record shouldn't lose any old fans and may just gain her a few new ones. [Apr 2007, p.108]

Tommy excels because there is no one correct way to describe the music. Using everything from Afrobeat to IDM, Dosh does it all; yet, he manages to find a way to make the entire project cohesive.

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.

Mystics still has plenty of weird, shining moments to solidify the band's unique spot in rock, but the schizophrenia may leave you a bit jarred. [Apr 2006, p.84]

21 is just a logical, major label extension of her girl-ish, diary-dream optimism.

Although Compass is certainly different from his other albums, it’s also just as certainly distinctly Jamie Lidell, and just the latest step in an ever-growingly impressive career.

Is Dead Man's Bones' record necessarily as accomplished as either of the aforementioned? Maybe not. But when one half of your band is splitting his vocations by also brandishing his face onto big studio pieces of celluloid, it's still a mightily impressive debut.

Reminiscent of our favorite moments from groups like Radiohead, ColdPlay, and Kings of Leon, Everyone I Ever Met is sure to garner the vintage Schwinn- riding guys from Oregon some well deserved props from music lovers world-wide. Do not miss this stellar release.

Opener 'Time to Pretend' exemplifies this best, as the synths provide quirky cartoonish bounces to tales of fancy car whipping and coke snorting pipe-dreams. However, the record grows sluggish at certain points, particularly when they try to get super sentimental on that ass.

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

Everything here–like his entire songbook pretty much–is delivered with presence and vigor.

Though adhering to this formula/non-formula, this self-produced long-time-comin' sophomore release relies on an even more augmented eclecticism than their 2004 guitar-driven Future Perfect (not better or worse, just OK Computer to The Bends differences).

Where Air's previous album failed to ignite like their classic Moon Safari, they have made some amends on Talkie Walkie. [Jan 2004, p.74]

A schizophrenic journey into the mind of a man who clearly embraces myriad genres. [Oct 2004, p.103]

They stick to the band's strict formula of melodic, thematic, well written music.

It takes a minimum of three full listens to really appreciate what’s going on here, so take some time with Time:Line, and reap the rewards of cross-country wav file transmission.

Very simplistic in melody and progression, each track on 200 Million Thousand is a tube-driven, distorted mess, complete with classic Brit-punk vocals. Twangy and overdriven guitars are matched with screams and pissed-off vocals full of attitude, creating a highly energetic punch, reminiscent of a Black Lips live performance.

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

As with most album trilogies, this first one is promising.

He tears apart the classic rock, only to re-assemble it into compositions that most resemble... classic rock. [Oct 2005, p.77]

[Security] delivers a treasure trove of eclectic beats, energetic sounds, political musings and agreeable voices that come together in a perfect musical statement. [Mar 2007, p.96]

While Subtle remains as challenging as ever, there's less exhaustion in finding the nugget, for a record that finally capitalizes on the potential of Subtle's raucous live performances. [May/June 2008, p.94]

Lykke Li manages to combine Feist’s beautiful crooning with Robyn’s playful spunk in her own impressively unique way.

Darnielle displays a newfound glimmer of strength adorning his melancholic tales. [Oct 2006, p.122]

It's a promising thought to know there are musicians this deft and so easily able to push themselves through so many sonic boundaries at once--but in the end, the overt and ultimately, stifling seriousness surrounding it proves to be the largest boundary BLK JKS stand before.

Sound[s] like the most genuine "no wave" tribute album yet. [Jun 2004, p.83]

It is quickly clear that Gotan Project have focused and finely tuned their mission during their hiatus. [May 2006, p.86]

An ass-kicking sophomore effort. [Mar 2006, p.111]

A very dark album, yes, but Raposa's ability to convey much with little usually results in a fragile and gloomy beauty rather than mopey dreck.

Jewellery, their latest album, plays like an act in a high school battle of the bands.

buzzes. His talent as a musician shines through in his ability to avoid having his theoretically contrasting influences sound forced together. If anything he has made them compliment each other.

This isn’t exactly a new Wu album. Just think of it as a nice experimental side-project--one that’s 10 times better than their last major one.

An album that masks its bite with sounds of familiarity and demonstrates Thibodeau's uninhibited emotion with full-scope 20/20 vision

As for the songs themselves, putting aside tragic and Autotuned context, some work and some don’t.

Black Kids' conviction and raw talent has made for a record that far outshines a majority of their blog brethren. [Jul/Aug 2008, p.84]

With production skills that some say are comparable to Madlib and the late J Dilla, we can say, overall, his cutting-edge sound makes Out My Window lovable, fostering the mood of a carefree summer day.

Finds [Bachmann] in a maudlin mood. [Apr 2005, p.108]

While conscious rap often comes off as dour, this is a thoroughly enjoyable record, dignified and jiggy all at once. [Mar 2003, p.94]

[A] funk dub electro carb-filled gem. [Sep 2004, p.117]

The most inspired batch of caffeine-fueled and jumped-up party favors you'll hear all year. [#104, p.95]

Amid all the beaming newness of Radical Connector is something familiar and unsettling. [Sep 2004, p.116]

Standing on Top of Utopia is a strong album, but utopia also means “an illusion”–a non-existent place–and sometimes it sounds like too many moods under one cover.

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.

Weareallgoingtoburninhellmegamixxx3 is El-P at his weirdest and finest, a dystopian symphony of other-worldly drums, funk horns, and brilliantly-culled samples.

Ringleader is Moz at his tormented best. [Apr 2006, p.88]

A wonderfully challenging album like its three predecessors. [Oct 2002, p.98]

A hard one to wrap your head around. [Oct 2005, p.84]

Despite waiting four years since getting noticed, their throwback beats and rhymes still hit things right throughout their LP debut, When Fish Ride Bicycles.

This album is an ideal response to claims that electronic music has no soul. [Apr 2005, p.100]

Distracting at times is Thomas’s voice--he seems to take pride in being purposefully off key--but breezy opener “Girls FM” and later the low key “Eyes Music” calm his shrieking affinity and keep him just where he needs to be; melodic.

When Machines Exceed Human Intelligence is the perfect musical equivalent to our relentless dependancy on technology.

He finally seems to be combining alll of his varied interests into a complete package more substantive than his earlier, smark-alecky adventures. [Mar 2004, p.108]

The freshness that figured into De La's previous four albums feels a touch staler here. (#78, p.116)

If you are a serious Groove Armada fan you will love it or hate it, I doubt there will be an in between. If you are just a music lover who is really digging the way electro and indie sounds have come into their own in the last few years than this is definitely for you.

While its hardly an overwhelming masterpiece like Blue Lines or Protection, it still stands head and shoulders above most everything else. [Mar 2003, p.95]

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

An enjoyable switchback ride through instrumental post-rock riff-making and full-on angst-ridden rocking out. [May 2005, p.87]

This time the focus is on tight songwriting, sudden chagnes and an edgy velocity that's never too dense. [Jan/Feb 2006, p.79]

With the Pixies re-run now seemingly over, it's good to hear the "other Deal" project back in full effect.

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

Better than his debut. [Jun 2006, p.105]

This album showcases the fact that every member stepped up to this creative challenge. A thoroughly enjoyable departure until we hear from Jack and Meg.

Far from sloppy seconds, the album's both imminently enjoyable and a valuable glimpse into the creative process of one of hip-hop's most accomplished producers. [Apr 2006, p.88]

Droppin’ Science Fiction, the debut project from hip-hop supergroup The Mighty Underdogs, is one of the strongest underground hip-hop albums to come out in a long time.

Painfully unexciting. [Mar 2006, p.122]

A simple pop prettiness mated with all lovie dovie. [Apr 2006, p.97]

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

Fragile in its struture, the album is stunningly precise and hauntingly familiar. [Sep 2006, p.131]

A sublime success. [Jul/Aug 2005, p.103]

Although theFREEhoudini won’t have MTV calling or cause die-hard fans of a Busta Rhymes or a Jadakiss to check Themselves out on tour, it will satisfy the duo’s following and provide a taste of what’s to come on their upcoming album, "Crownsdown."

Baltimore's best-kept secret is ready for the world. [Sep 2005, p.119]

Perhaps unintentional by the authors of the music, BMSR triumph in crafting a nuanced and aesthetically superb effort. Their music is wholesome and sounds delicious enough to eat, what a treat!

A sometimes abrupt, hard-to-pin-down voyage with fun surprises and plot twists. [Sep 2006, p.131]

Although Abe Vigoda was fun and games when they first started, they show true courage in their new music.

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.

Their arrangements are tidy as ever and the disc's energized pop sounds like it came together on the stage rather than the studio. [May 2007, p.97]

The result of that little informal challenge is Fortress Around My Heart, the Norwegian singer’s debut album that expertly blends her throaty punk vocals with an infectious pop sensibility.

Noisettes have stepped outside their comfort zone and into new musical territory. As a result, they have produced an album that accurately reflects their energy and personality.

An album full of budding promises. [May 2006, p.95]

Closer in spirit to Matmos' The Civil War than to any rap record, Ten dares you to let your inner child out to play. [Mar 2004, p.108]

Actions' unique and new-fangled deliverance of mostly acoustic and certainly threadbare beats see to it that Plan B doesn't fall into the grime or dubstep pigeonhole. [May 2007, p.97]

If his first album, Shadows on the Sun--one of 2003's best hip-hop releases--was meant to introduce Ali to his would-be fanbase, The Undisputed Truth--which sees Ali's life taking a total 180--seals the damn deal. [Mar 2007, p.97]

The tracks on Heart On don't veer from EoDM's favored subjects of Los Angeles fakery, sex, girls, sexy girls, and how they're gonna get sexy girls. But shit, that doesn't matter because they're sure as hell sticking to what they do best (with their trusty cow-bell, no less): they make you want to rock out and get your sleazy dance-on at some greasy bar with a PBR.

While there's some experimentation with new ideas here, Jhelli Beam is familiar enough to leave Busdriver fans more than satisfied. Unfortunately, it's also unlikely to convert many newcomers to the cause.

Missiles is a true testament to meticulous sonic invention. [Nov/Dec 2008, p.85]

It's her way with a sexy synth beat that gives Ms. Peaches her succulence. [Jul/Aug 2006, p.126]

Basically, it's earnest, well-crafted indie with synths. [May 2005, p.86]

At times it can feel like the Flaming Lips locked in a log cabin with a bottle of morphine. [Sep 2005, p.119]

Pressure and Time is revivalist rock inflected with just the right hue of the now.

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

Easily the best and most original album the Betas have ever made. [May 2004, p.84]

The first truly great album of the dance-punk movement. [Sep 2006, p.132]

I Feel Cream is pretty good but at the end of the day, it is a transitional album.

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

The record is a winning release, if not entirely novel, and the sound of a likable band honing their sound while refusing, somewhat obstinately, to alter it.

A few moments... break through the post-punk grind to show a little more breadth. [Apr 2006, p.90]