An astonishingly relevant album. [Mar 2006, p.112]

Whereas past Wu albums have been scorned for their filler, Meth, Ghost and Rae leave plenty on the chopping block this time around, only allowing the best of the best to make the cut on Wu-Massacre.

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]

A stunning debut. [Apr 2006, p.96]

Producer Ethan Fawn's dynamic overlays of crisp, factory-stomped melodic lines carry Glass's unintelligible lyrics straight to neon-lit nausea heaven.

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

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.

Major Lazer have never been bashful about appropriating musical styles where ever they find them; every song they make seems to be trying to remix the entire global street culture all at once. On Lazers Never Die they manage to duct tape all their influences together into a fun, listenable package.

At the end of the day, I'm Gay (I'm Happy) proves that he is a much better artist (and role model) than anyone was led to believe.

Among the most engaging albums of the year. [Jul/Aug 2005, p.108]

Numbers are getting by on an awesome sound more than an awesome song. [Oct 2005, p.79]

Die-hard fans may not like the style change, but I think it’s a step in the right direction.

Now far denser than disassociated, this is Ladytron at the group's most masculine.

Simon Green stands with a select group of musicians who have been consistent in both quantity/quality output of this type of introspective music. Bonobo's Black Sands is an album that should not be missed and is undoubtedly one of the most superior releases of this year.

Don’t be expecting any Texas harsh, desert-crusted psychedelia–this is more fields and forest music, lush electronica crafted with some awesome, mutant pop songwriting.

She's made some excellent and creative dancefloor techno here, but like so much great techno of the past, it fails to gel into a definitive album. [Jul/Aug 2005, p.99]

They throw light on their shadowy melancholia, resulting in positively euphoric tunes. [Mar 2005, p.111]

Put [Monkey] on in the background and it'll sound good, but you won't necessarily notice it. [Apr 2002, p.126]

Whether it’s Mark’s influence, or Kinky’s own growth over the years (or maybe both), this album has universal appeal and its party-ready, rich sound is one that would be a shame to pass up.

The whole album is a spacey trip, and it acquires several listenings to be on their side. They're definitely not stagnant, but it's still a step back from their debut--not in time, but in appeal.

The album captures the band's unmistakable sound but they've also added some new flavors. [May 2006, p.91]

Much like Sufjan Stevens (but without the history professor schtick) Vanderslice is a one-man orchestra of plucked and bowed strings, living-breathing organs and lullaby vocals that narrate his musical characters with explicit detail. [Sep 2005, p.114]

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

It's a delicate album that's simultaneously sophisticated and warm. [Apr 2007, p.106]

While the album is a fun first listen, it's in taking that second and third spin of Waterloo to Anywhere that the band's infectious quality becomes a full-fledged epidemic. [Sep 2006, p.142]

A classic rock-influenced masterpiece of horny fun. [Apr 2006, p.84]

Come With Us will doubtlessly electrify their legions of fans and just as effortlessly enrage the condescending cognoscenti that loves to hate them. [#90, p.120]

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.

Visitations occasionally suffers from "too much of a good thing" syndrome. [Jan/Feb 2007, p.77]

It’s a rare thing to find so many talented collaborators (notably Guilty Simpson, Oh No, & Murs) on top of the skills of such a creative and accomplished selector as Madlib. WLIB AM puts an odd twist on oldschool and dresses to impress.

Grabs you from the opening seconds with a best-of-all-worlds combination of gritty, menacing music and witty, hilarious lyrics. [Nov 2004, p.99]

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

Given their experience writing and producing for the likes of Kylie Minogue, Madonna and Brittney Spears, it stands to reason why Miike Snow is such an irresistibly captivating album.

Ol'boy touches the listener deep on the inside with the polished shimmy of Motown and the greasy strut of Stax tipping his hats to the likes of Otis Redding, Sam Cooke and kJackie Wilson. [Mar/Apr 2008, p.107]

While this record may have cast the veil of melancholy over a chunk of its tracks, the noticeable difference should be welcome to fans old and new.

While the production throughout the album is very strong and cohesive (guitar, drums and some piano taking care of most errands), the vocals might prove otherwise.

One of his better releases this year. [Oct 2006, p.122]

The Television Personalities show that they are still running strong on ideas and originality. [May 2006, p.91]

Political agenda with raw AC/DC chords. [Dec 2005, p.105]

It’s far from perfect, sloppy and trance-like, but feels suffused with a blast of inspiration the musicians simply had to get out.

Metallic Spheres, a collaboration with electronica legends the Orb, represents his boldest and most satisfying footnote to date.

Adult. have fully realized their vision with a sound that's more alive and panoramic. [#104, p.95]

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

They finally deliver on the big promise everyone saw in what they might do with the raw sounds of that first LP. [Jan/Feb 2008, p.102]

Like a walk through an alternative music encyclopedia. [Jun 2006, p.113]

While CrownsDown is a damn fine album that comes off as a more mature, refined rendition of Them, only time will tell if Themselves have created their own classic. Still, it should silence the cynics.

This record is a beautiful testimony to passionate and heartfelt emotion with Warden’s dynamic voice being the seductive centerpiece.

A late-night dorm room essential. [Oct 2005, p.84]

The perfect soundtrack for a late Sunday night. [Jan/Feb 2005, p.96]

The refreshing thing about bands like Cut Copy is that they're consistent. Far too often do artists change direction throughout their careers and sometimes lose touch with that thing that made us all fall in love with them in the first place, but this isn't the case with Zonoscope.

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.

Regardless of how the totality of Splazsh sounds to you--whether it's five tracks and 15 minutes too long, or a perfect hour-or-so long piece of programmed paradise, there's a lot to respect about Actress' confidence as a producer.

Every moment on Broken Bells is necessary. James Mercer and Brian Burton, in this highly personal project, have nurtured a carefully multilayered array of pleasant sound with slow-moving vocals that capture the best of the worlds of both these talented artists.

Akin to classic Detroit techno in the way it delves deeper into the machines and technology to find the humanity at their core.... In 2002, Underworld has outpaced the competition and released the electronic album to beat. [Sep 2002, p.99]

The colors of the view, the hill, and the sky blend into one swirling colorful, confusing masterpiece. Just when you begin to think you might reach overload, you land cleanly on the ground, on your feet. You just listened to Alien in a Garbage Dump.

Ray Guns Are Not Just the Future is a pop gem for the young at heart and proof that the duo possesses the serious musical talent needed bring their whimsical musical visions to life.

Comes as an especially welcome jolt after their last wishy-washy effort. [Mar 2005, p.110]

An undeniably good record. [May 2007, p.95]

A reminder of artists like the Breeders. [Mar 2006, p.122]

A fabulous freeform fiesta of punky reggae and funky dance-pop. [Mar 2002, p.120]

Expansion Team reveals Dilated Peoples to be a straight-up hip-hop group, for better or worse. [Nov/Dec 2001, p.136]

Fans of Death Cab and the Postal Service might notice a similarity between Angelakos' and Ben Gibbard's vocal styles. The six song EP features light, airy synths grounded in subtle new wave and pop grooves.

10 tracks of pure seamless joy.

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

Haughty Melodic should find Doughty a new legion of listeners while sating his faithful followers. [Jul/Aug 2005, p.101]

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

All the songs are so glassy, beautiful and seemingly perfect.

His fiercest, finest record. [Feb 2003, p.94]

A wacky landmark in the electronic pop movement. [Nov 2002, p.98]

He sounds darker and more menacing than ever. [Oct 2004, p.105]

[An] excellent multi-genre plateau. [May 2005, p.84]

The Bachelor is quite a journey with a clear direction and theme. Wolf is going through an inner struggle and seeks to find a resolution.

Nasty and raw. [Jan/Feb 2005, p.97]

So while Born This Way for the most part is great, I just don't think she's at her peak musically yet.

Solid... the album definitely hits its marks. [Apr 2005, p.102]

Additional collaborations with Sean Lennon, Cibo Matto, The Mooney Suzuki and The Yeah Yeah Yeahs, solidify Naturally as a sure summer listen from two gents who never really go wrong.

Drawing on ’70s disco and ’80s electro pop for the 12 tracks that make up The Fame, Gaga writes deluxe ditties that compel the listener to “Just Dance.”

Talib seems to be coasting just a bit on this cut-and-paste session. As in, from a pure musical standpoint, outside of a few of repeat-worthy tracks, Gutter Rainbows, is no cure for your current cabin fever.

Think early Blur, without the cynicism. [Mar 2006, p.112]

Time and place be damned, this is a good record, but it will never be anyone’s favorite.

The two mini-albums are both successes in vastly different ways, but they are especially effective as testaments to the versatility and adventurousness of Zach Condon.

Has all the signs of a band of epic, pop potential. [Jan/Feb 2006, p.94]

Adult. is cathartic cabaret for the sketched out. [Apr 2007, p.101]

If you're in need of hype, and think Oasis are too old and lame anyway, and the Arctic Monkeys are just kind boring, maybe you need... the Klaxons. [Apr 2007, p.106]

The perfect balance of sleaze and smarts. [Jan/Feb 2006, p.95]

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

The real beauty lies in how Iceland's dynamic conditions are mimed in minimalist clicks and cuts, and overlapping swashes of snapping drums, sparkling piano and acoustic guitar. [Jul/Aug 2004, p.124]

On Varcharz, Mouse on Mars crank out 11 new tracks that, for better and worse, continue to expand the boundaries of abstract music. [Sep 2006, p.138]

Sadly, Camu Tao passed on before he had the chance to fully craft his magnum opus and one has to applaud the decision to let the world hear what is and what could have been.

Sure, a couple of songs may seem to end a bit abruptly, but most of the opportunities you want them to take--they take.

Tittsworth should be proud. 12 Steps is, at its end, a mighty accomplishment for both its maker and his genre.

Pure pop strangeness, thankfully, getting even stranger. [Mar 2006, p.113]

Good Evening is unbelievably catchy and vintage but at times is weighted down by its own obscurity, sometimes becoming far too much background noise and not enough of an active listen to provide enough distinction between tracks.

Still clenching its beloved Americana, BRMC spits a familiar noise that has transformed from a mountain of stifling volume into a dense layering of sophisticated references. [May 2007, p.93]

But for all the labels and feelings the album conjures and provokes, Fight Softly ends up sounding like a bunch of beats and blips gesticulating wildly instead of a cohesive body of melodies and songs.

The production is fantastic, De La go in with the lyrics and Flosstradamus tied everything together perfectly though.

Rich in imagery and suggestive of enviroment -- arctic, urban and mental -- Pan Sonic chisels a sound contradictory in its makeup, utterly synthetic and metallic yet somehow deeply organic. [#82, p.144]

This glorious racket... has a beating, hideous heart to it. [Oct 2005, p.76]