There is something uniquely authentic about Mason's music. [Mar 2006, p.114]

If Pilot Talk was the daylight that showcased Curren$y's talent to the world, part 2 is that evening's afterparty.

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.

As scattered as ever, Nouns covers a gamut of abstraction and occasionally even runs into a wall of melody.

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

The music pulses with a shimmering, spine-tingling blend of moodiness and vitality. [Sep 2002, p.102]

With every track clocking in at about seven minutes, Convivial may fulfill not only the needs of the insatiable dancefloor, but the wants of those looking for relief of daily life's mundanities.

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.

That sweet spot between the dancefloor and the moshpit is something that more and more electronic acts seem to be pursuing these days. Freeland shows he's still a vet of that particular tightrope.

The music on this album is inspired and seriously sex-centric, repeatedly connecting politics with physical intimacy. [Apr 2006, p.82]

The cumulative results of his efforts are a masterpiece both dark and striking. Dear is putting forth an open invitation to tour these shadowed places of his imagination, and this is one offer too good to miss.

At Mount Zoomer will get hipsters dancing around once again, but I think the respect and hype is most definitely due to Wolf Parade this time.

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

All the same basic elements--classic synth leads, intricately pulsing rhythms and pop vocal stylings--are back again for It's All True, but for this album the screen is completely gone, and Junior Boys are as front and center as they've ever been.

Koala's comic gestures serve a humble purpose, masking the technical precision that underpins his work. [Nov 2003, p.88]

This impressive album sounds like the work of old souls. [Nov 2002, p.100]

Each track on Seventh Tree is a picture that stands alone, but in its entirety the record works as a landscape decorated with guitars and pianos spread over hills of upbeat drums as strings and woodwinds line the sky in the background.

Soulsavers continue to challenge themselves and are able to produce a great album musically and lyrically. Overall, the album is cohesive and strong on almost every level.

[Heiruspecs] prove that they are definitely more than just Atmosphere's occasional back-up band. [Oct 2004, p.103]

A wonderful, fascinating record. [May 2005, p.85]

A lively collection. [Sep 2006, p.132]

The latter half of Paperwork is a showcase for the lead, at times a tad too comfortable with his unrestrained vocalizations.

An irresistible mix of soul, rock and attitude. [May 2006, p.91]

Hot Chip hasve always guaranteed a certain degree of respect for the listener's intelligence, even on their most fance floor ready album yet. [Jan/Feb 2008, p.102]

Deerhoof reveal new shades of interest that beckon future transformations. [Jan/Feb 2006, p.78]

At the same time you contort, squirm and surge toward the non-music, your spirit somehow gets the message. [Oct 2006, p.132]

Blonde Redhead's most confounding element is also one of their most endearing. With her ethereal, paper-thin voice, [Kazu] Makino often slips frustratingly off-key. [May 2004, p.84]

A Hundred Things also contains quieter moments that work surprisingly well for such a loud record, providing a much-needed respite from the nervous scramble of the rest of the album.