Delightfully odd, smart and horny, the Maels deliver on time once again. [May 2006, p.90]

The Budos Band III is a remarkably cohesive album, and despite the lack of surprises, it's one tremendously enjoyable listen.

Instead of just blowing the dust off of relics from his childhood closet, he's embraced the neon ehtos of the era and produced and actual New Wave album that still sounds eerily contemporary. [#90, p.118]

Much as it is refreshing to find a spotlight being shone on the psyche of a headstrong young woman, This Week suffers from a frustrating consistency of musical tone. [Sep 2004, p.113]

With Screenings, Herren continues making complex compositions sound wonderfully smooth. [Mar 2006, p.116]

[Their] rain-soaked misery [is] now nicely offset by a simmering rage. [May 2006, p.82]

Every song ends like a firework finale and fragile chords explain more about the human condition than words ever could. [Jan/Feb 2006, p.78]

Franti's most eclectic offering yet. [Jul/Aug 2006, p.116]

Watersports sets itself up nicely for some critical acclaim, and its multi-genre versatility will make it easy for people of all musical tastes to find something to enjoy.

We know everything about Marshall Mathers...and on Relapse, he leaves Marshall behind. Instead, he embodies characters that we know aren't him, but allow him to re-channel the shock-and-awe rebellion (and skill) that made him great in the first place.

The contrasts, themes, and sheer eclectics of the album make for something that any one person can listen to, and relate to.

Signals something of a rebirth of their signature creativity. [Jul/Aug 2004, p.123]

In The Mode is at its most invigorating when it eschews the now tired-sounding rare groove and cool-jazz format of 'New Forms' for a sound that combines more bounce-friendly radio sounds with a hint of menace. [#79, p.136]

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.

Despite the fresh reworking, tracks like "For An Angel" and "Another Way" retain the heartfelt with synthetic, catchy cores that made them such beloved trance anthems in the first place. [Mar 2003, p.99]

At worst, A Strange Arrangement has a couple lulls; at best, it’s one of the most enjoyable records of the summer. Highly recommended.

Love Is Not Pop is many things; a comeback of sorts, a refreshing hybrid of exquisite production and emotional intimacy--but most immediately, it stands as an essential mood piece for these crisp air days, light fading early into dark.

The excellent Power In Numbers finds the group inching toward the future with a fuller sound and different looks. [Oct 2002, p.94]

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

The lyrical presence and content of guests is what sets London Zoo apart from other dubstep producers.

What’s really impressive here, however, is instead of crafting another album filled with ethical coaching (which was actually a pretty damn good record, by the way), the group found an interesting theme and stuck to it.

Back to Black is overflowing with the '60s Supremes warmth that has been fully absent from the "standards" of today's R&B. [Apr 2007, p.108]

Double Night Time unapologetically flaunts its electronic overcoat, and glam it should, given the remarkably clean sounds coming from Geist’s boards.

11 tracks of classic ambient house and melodic decks and EFX exercises. [Sep 2004, p.116]

Rather spectacular. [Jul/Aug 2004, p.126]

Magnificent. [Sep 2006, p.136]

Being a gluttonous hard-ass has been a tough requirement to scratch from the 10 rap commandments, but a growing trend in transparent MCs finds Atmosphere atop the pedestal of its post-Prozac and Adderalled audience. Maybe good dads just make the world better, one damn fine album at a time.

The insanity in Tyler's ever-more-popular rap character feels real because he too recognizes it. He's crazy and it's crazy that we're listening, but maybe that makes the actual world slightly more sane. Oh, the horror.

By the end [Vek] makes a convincing bid for Rookie of the Year. [Oct 2005, p.81]

Murs is both hard and intelligent. [May 2006, p.88]

The now-three-piece group proves they haven't lost their ability to blend superb pop hooks with dance beats. [Sep 2007, p.131]

The band plainly “rocks” and on Wolfgang Amadeus Phoenix they have perfectly translated that ability onto their proper recorded output--for better or worse.

Absolutely endearing. [Jul/Aug 2005, p.101]

Quite possibly the break-up album of the year. [Jan 2004, p.78]

With its lush layers and shoegaze indie sound, You Can’t Take it With You forecasts clear skies for the guys.

While they have been slowly inching in the direction of a purer pop record post-"Simple Things," Binns and Hardaker seem to have finally found their stride.

With the release of this new album, There Is Love In You, he's shown his versatility in dancefloor culture while remaining true to his own soundscapes. The result of this new venture may be the most satisfying Four Tet experience since 2003's release of "Rounds."

Positively sneers with attitude. [Jan/Feb 2006, p.94]

Even with the occasional miss, the near-violent style-hopping is more than welcome where Rupture is concerned.

Despite running a bit long, this is clearly one of the year's better releases.

Loyalty to Loyalty, the band’s sophomore release, isn’t as immediately impacting as that first round of songs, but CWK didn’t lose their charm (or literary obsessions), either.

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.

One of the most rewarding and noisy records of the year. [Jan/Feb 2006, p.103]

It's Josh Reichmann and James Sayce's glam-shaded and '60s pop-tinged songwriting that really makes this record cook. [Dec 2005, p.105]

He possesses flawless rap skills, artiness, tasty hooks and smart production. There are lots of strong tracks, but his debut is highly enjoyable as a complete listening experience.

This time the band offers a variety of styles, from uptempo rockers to gorgeous ballads to move you. [Jun 2006, p.119]

With Everything She Touched Turned Ampexian, not only has the frustratingly prolific Guillermo Scott Herren delivered a blinding banger of a record, he’s upped the game that appeared indomitable on 2003’s "One Word Extinguisher."

This is AM pop perfection that doesn't need a stamp of retro-cool to be timeless. [Mar 2005, p.111]

An utterly modern, far-out reverie of an album. The whole thing works like a charm. [Oct 2001, p.128]

The album bristles with a new urgency. [Sep 2003, p.100]

An impressive album that points to a most promising future. [May 2004, p.84]

[A] brilliantly arranged debut album. [Oct 2005, p.84]

The most palatable Mike Patton project to date. [Jun 2006, p.113]

It's mighty moody stuff for a debut, but it's carried off just right. [Nov 2004, p.100]

Splendid. [Jun 2006, p.111]

Icky Thump is a fearless album, braving a bold bunch of weird rock transformations: slick studio radio glam, southern jukebox boogie, Scottish Highlander mandolin jaunts (!!), stuttering mariachi machismo, comedic skits, etc.

Phantom Power is pretty much your perfect experience, certainly alongside some jazzy cigarettes and a nubile lovely. [Oct 2003, p.84]

[An] outstanding album. [Mar 2005, p.110]

His best full-length. [May 2007, p.98]

Haines has... shown glimpses of a broken and beautiful solo artist just waiting to tell her story. This, my friends, is that breakout album in spades. [Oct 2006, p.122]

Ultimately, Xiu Xiu builds something sacred from tiny moments of pain. [Jun 2004, p.90]

It's just all so blissed-out and soothing you won't know what to do with yourself. [Dec 2002, p.92]

Pierce has broken down another barrier between elusive genius and sheer pleasure. [Jun 2005, p.79]

Featuring the production savvy of Soulwax (who also worked on "Sexor") is an extremely polished and solid release.

At times reminiscent of Neil Young. [Sep 2006, p.139]

It's nice to see Tha Liks are still vintage 1993 flavor. [Mar 2006, p.112]

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]

The band recalibrates toward rock structures but doesn't ditch the textures and sound experimentation of the recent past, resulting in songs with sonic depth and focus. [Sep/Oct 2007, p.129]

Surprising and fresh. [Jan/Feb 2006, p.103]

The Teenagers are pretty damn good at distilling all things incredible, wicked and true about being young.

From the preparation to the club to the dreaded hangover, Weekend takes you all over and in between, and is sure to leave you asking for more.

Boatloads of fresh, clunky beats land ashore with narrative tongue trickery. [Apr 2004, p.86]

Eventually the payoff makes all the setup completely worth it. [Dec 2005, p.99]

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

Expect to see this album on 2006 Top 10 lists. [Oct 2006, p.118]

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

La Roux’s selft-titled debut doesn’t disappoint, pulling obvious influences from the Human League and Depeche Mode.

The camp is still there, only now there's a newfound confidence (not to mention skill level) that make this one a winner. [Aug 2003, p.90]

The vulnerable sound that you known and love--all slide guitar and open chords. [May 2006, p.94]

It’s a syrup-sick pop rotted by dark folk, elaborate rhythms and droning psychedelia, but it’s always tight--meticulously so--making Alopecia an across the-board delicacy of warped obsession.

Oizo’s latest effort easily becomes the pitch-perfect soundtrack to an epic night out, reminding us that these cats across the pond know exactly how to make electronic music seem both strange and familiar, music that practically anyone can enjoy.

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

Sure, the album title is about as random as their name and the way they originated, and yes, their sound is a crazy jumble of gritty, primal punk rebellion, but not for one moment does it not work. Openly stated, they have their shit together--no pun intended.

The Altogether is, all stated evidence to the contrary, a remarkable work. Why? Because it is the product of two brothers who, understanding that they can kid neither the audience nor themselves, mapped a musical course based on their root love -- musical energy -- and never strayed. [Sep 2001, p.147]

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

Finding Forever, Common’s spectacular seventh full-length, isn’t 'The Bitch in Yoo,' but it is his hardest release since.

Their best album since... Remedy. [Sep 2006, p.131]

Black Milk, Guilty Simpson & Sean Price have that triple threat chemistry a la Jason Terry, Tyson Chandler & Dirk Nowitzki. Any album that makes you want to cop the instrumental version gives it legs and Milk has clearly emerged as one of the top producers in the game.

Stainless Style is impressive for so many reasons--'Raquel,' dedicated to Miss Welch; hearing crunk meld with Italo Disco; a Yo Majesty cameo--but it's the utter lack of irony that steals the show.

The album clocks in at nearly an hour but not one second is used in vain since Spirit’s campfire harmonies and leftfield spurts of drum cymbals go into vortexes that makes time stand still altogether.

None of the pairings are out of place. [Mar 2007, p.99]

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

Sharon Jones & the Dap-Kings are back with their fourth album I Learned the Hard Way. It’s another authentic, heart-felt album filled with heartache and daily struggles.

Tristeza is different with their orcestrated style. [Jan/Feb 2006, p.103]

Submersive, almost submissive. [Jul/Aug 2006, p.118]

With this charismatic effort, Sandman has proven to be the audio equivalent of creeper weed.

Though straightforward, the song structures are detailed and ruffled. [Jun 2006, p.110]

Its tracks work together to form a cohesive, incredibly personal whole. [May 2007, p.91]