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

This well-engineered album's ideas have been gestating a little too long. You might just say it's the best album of 1998. [Sep 2001, p.152]

This could be a great album with some gentle editing and condensing. Many of these songs cannot support the weight of 8 or 10 or 12 minutes, although the extended length seems to be nearly the whole point of this album.

The signature post-rock and cleverly monotonous Stereolab aesthetic is still present, and continues to be refreshingly innovative.

They effortlessly knock out the kind of poignant, electronic-tinged anthems that would have had a 1997 Thom Yorke dancing with joy. [Mar 2004, p.109]

The music is fresh and rather hypnotizing.

Terrific tunes. [Apr 2005, p.102]

Her eponymous debut is the closest thing to “Betty Davis Eyes” or “Stand Back” recorded for our generation, and yet it isn’t nauseatingly retro.

Do not sleep. The lush soundscapes of the vivid and fascinating world of Paul White await.

Unlike the first record, which relied on Temple alone to fill out the layers of the songs, Pigeons utilizes the full band, and improves because of it. The songs are better composed, and more interesting: the experimental bits, which were a bit of a distraction, are more focused and purposeful.

This is one groovy, swinging collection fans of all ages can dig. [Apr 2006, p.86]

At its best moments, the latest effort from Stars yearns for the flicker flame of "Set Yourself on Fire," but it is neither as gorgeous as nor is it as jarring a mixed bag as "In Our Bedroom."

Dance Mother is musical pixie dust illuminated by a warm neon glow. There is a great sense of magic and wonder in Telepathe’s music, their chirping, fairy-like, multi-tracked vocals providing a feeling of childlike awe.

The guys seem like they want to prove they are not just a regular dance band, and in that way they succeed, even including a spoken word piece about one’s concern of the great unknown ('Fear of Death').

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]

A fantastic reminder of the visceral power of hard-stomping, neck-snapping techno. [Jul 2002, p.100]

Photek has always been about his drums more than his bass, so it doesn't surprise that some of the tracks on Solaris are more techno than jungle. But vocal house? (#78, p.115)

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

Grieves still knows how to make catchy, emotive indie rap with the best of them.

Unfortunately, it's the production that doesn't meet the previous standard set. [Apr 2007, p.101]

Just some progressive musicians being…progressive. O Soundtrack My Heart is not for everyone, and that’s not a bad thing.

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]

Sensuous goes so far beyond the borders of radio-friendly melody that it's hard to recognize the Cornelius of bygone days. [May 2007, p.93]

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

A couple tracks may become short-lived flings, but for the most part, the pleasure to be had from Temporary Pleasure will not be short-lived.

Zero 7 have perfected the formula for folk jazz that transcends definition and defies classification, always taking you on joyous rides that often end at a truly unexpected place. [Jun 2006, p.108]

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.

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

A bewitching brew of triumphant introspection that, while not unprecedented, is still plenty personal. [Mar 2003, p.95]

This album is truly an odyssey where if a picture paints only a thousand words, these songs can paint an entire film.

Positively electric. [Sep 2006, p.143]

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

The songs heave with shockingly real energy. [May 2005, p.85]

It's a raucous rave-up of arena rock riffs over funky disco beats, the kind of freaky dance-rock jams that belong on the jukebox in every gay biker bar in America. [Jul 2003, p.91]

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]

Wiry, tense, post-No Wave dispatches. [Oct 2004, p.102]

Eugene McGuinness is a time traveling disc where Eugene blends his creativity with sounds of the past. And although this may have not been intentional, it is somewhat still appreciated.

Fish Outta Water is a very strong project.

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

Genetic World finds Telepopmusik vying with Zero 7 and Naomi as the next legendary collective. If only they'd lose tracks 6 and 7. [Jul 2002, p.102]

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]

Atlantis will rock your body--if you open your mind. [Jan 2007, p.79]

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]

Takes her dirty white girlisms to an even more profound yet still salacious place. [Nov 2003, p.89]

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]

She's made her Marvin Gaye album, a sweet collection of dreamy, reggae-kissed gems. [Dec 2003, p.86]

Depeche Mode have produced another album fit to fill headphones and stadiums, leaning more towards a muted commercial than perverted side, but for 30-year veterans there’s really nothing wrong with that.

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

Intimacy offers the most ideas that Bloc Party has ever put on display. Skip the first two tracks and you'll find more hits than misses.

They've delivered highly re-playable 13 song study in the G blues chord's progression, spanning '50s hillbilly rock, '60s garage and '70s glam and punk. [Sep/Oct 2007, p.129]

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.

Vocally, Del may have lost some of his lyrical miracles and "spectacular vernacular" from albums past, but his unquestionably familar cadence hasn't budged a bit. [Jan/Feb 2008, p.104]

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

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

This is an album loosely forged in all those places where pop, rock, funk and soul congregate and it's hard to imagine it all coming together much better.

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

Depart From Me is a cohesive album of dark hip hop from an MC in top form.

While the album won’t produce any converts or even revive interest in the band’s newer music among purists, it’s an enjoyable, self-assured collection of jangly guitar pop tunes that sounds guided by the group’s own creative compass instead of fickle fans’ expectations.

There’s an intriguing, never pandering, blend of genres on Be Brave–from soul to blues to modern day indie rock-packaged as Texas blues–making the record a more interesting listen each time around.

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

A near-masterpiece. [Sep 2004, p.117]

Thankfully, the results are still pure Blues Explosion. [Jan/Feb 2005, p.94]

Tecnicolor Wall of Sound confections. [Apr 2006, p.96]

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.

The adventure slightly disappoints. [Apr 2007, p.108]

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]

Far better than the Cranberries in retrospect. [Sep/Oct 2007, p.131]

What begins brillantly gets dismal to the point where it lacks the eclectic Cajun spice, a taste definitely required to stew up a truly heady gumbo. [Sep 2007, p.128]

Producer Stephen Hilton's light-handed touches mesh well with the mood of the brooding Briton, but the hints at electronica keep things lively enough throughout.

Everything Last Winter loses itself slightly in the oversaturated field of worthy emulators, the record could find its place soundtracking the ABC drama you call a life.

Predominately shimmering and languid, at its raciest Divine Operating System achieves a poppy, disco canter that trades ass-slapping soul for sleek sensuality. [Sep 2002, p.104]

Positively dripping with crude funk. [Mar 2003, p.95]

A boring reminder of past work. [Dec 2005, p.104]

Like many bands before them who similarly created magic with their debut albums, this Brooklyn trio can't quite harness the same level of energy for their sophomore effort.

Nomad is ambient music for beatheads in need of a record to clear their minds to, or dance music for new age lovers.

The only aspect that prevents this album from achieving flawless cohesion is the fact that each track sounds so distinctly different, so much that it’s almost a chore to readjust to the new sounds one is bombarded with from track to track.

Blockhead blesses three tracks with sublime beats, proving what a pair they make. [Mar 2005, p.118]

NY's Finest shows glimmers of what Rock can do, but it's unfortunate the album came out before Soul Brotha #1 was warmed up.

Monkey: Journey to the West is a testament to Albarn's versatility as a musician and his melodies' ability to avoid becoming losing their power in translation.

There's only so many times the melodic power chords of guitarist Mike Stroud can graze the quarantined beats of programmer Evan Mast before the combination begins to rust. [Sep 2006, p.142]

With Both Sides Of The Gun, Harper proves he's prolific, diverse and relevant. [Apr 2006, p.86]

The album may not be the most cohesive collection of songs, but it’s infinitely entertaining, delicate and precise in its construction, and a solid debut from a couple we can only hope to hear more from.

Should find a home on your iPod alongside Zero 7 and Brazilian Girls. [Jun 2005, p.85]

The path to orchestral bombast continues on So Divided. [Dec 2006, p.118]

Compared to 2003's Living In America, the disco-punk is less explicitly Blondie-biting and actually noticeably more weary, but no less propulsive and vamping. [Mar 2006, p.119]

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

Amazing Grace holds its place in the ever-evolving sound of one of the most momentous bands of the past decade. [Oct 2003, p.86]

it is pretty much the same thing we all loved from Hercules and Love Affair. Does that mean this album is bad? No, it's fabulous. There was just no risk, no movement.

It rocks--hard. [Apr 2006, p.90]

While his past two Anti-/Epitaph releases showed a heavy punk influence, Li(f)e is a groundbreaking amalgamation of folk, indie rock and hip hop.

Needless to say, for a band only formed in January 2008, not only is this release very ambitious, but also well meticulously well crafted.

A bit more variance in terms of these aspects would have rounded everything out. Other than that minute observation, The Sun & The Neon Light is a fantastic album.