Metascore
84

Universal acclaim - based on 15 Critics

Critic score distribution:
  1. Positive: 13 out of 15
  2. Negative: 0 out of 15
  1. A vast improvement over the intriguing but rarely focused Let's Get Killed, David Holmes' third solo album benefits from his growing status as a producer to watch -- and specifically, from his ability to snag the talents of big-name vocalists.
  2. Although it's a huge departure for those expecting more of the same from Holmes, it's easily the most sonically interesting release by him thus far.
  3. Bow Down... was developed alongside a movie script and works as vivid NYC filmic music and an electic-by-default modern concept album. [12/2000, p.96]
  4. With this ramshackle spread of spiked beats and filthy-fingered funk he's produced easily his best work.... An intoxicating, headstorming brew of desire and despair 'Bow Down To The Exit Sign' is the first great album of the millennium.
  5. Holmes races through genres like a mad cab driver running red lights, revving up a jittery, urban fever dream from a junk heap of beats and ragged exotica. [10/27/2000, p.120]
  6. Equally comfortable in the realms of rock and dance, Holmes is hard to pin down stylistically; his latest album, Bow Down to the Exit Sign, like Moby's 1999 Play, draws from classic blues to add new life to electronic music.
  7. 90
    One of 2000's most consistently compelling listens. [#48, p.95]
  8. Similar in spirit to [Primal Scream's] Exterminator or Death In Vegas's The Contino Sessions, his third album tools up a live rock band with dance music's sonic armoury... it's a claustrophobic listening experience, challengingly thick with ideas.
  9. David Holmes' boldest effort to date, exploring the threads that bind avant garde rock, squelchy electronics, and film together.... A milestone for David Holmes, and an amazing collage of music-meats-cinema that endears itself with each listen. [Oct 2000, p.111]
  10. Like Death in Vegas, Holmes is a techno boffin whose work builds upon that of the Velvet Underground rather than Kraftwerk; too bad his grooves, like the bass-line chug of "Living Room," often go nowhere fast.
  11. 100
    Will quite necessarily go Top Five in any sensible end-of-year poll. [July 2000, p.102]
  12. 100
    Featuring vocal contributions from Primal Scream's Bobby Gillespie, punk-blues aficionado Jon Spencer and ex-Tricky collaborator Martina Toppley-Bird, Bow Down to the Exit Sign is a dark, soul-wrenching trip through an even darker world.
  13. 80
    Holmes' Bow Down breaks from the elegant flow-noir of his previous platters by spinning luridly out of control. [12/2000, p.220]
  14. 70
    An album that blends genres and forms to spawn a rare breed of funky breakbeat-inspired rock.... Unfortunately, the vocal collaborations with the likes of Jon Spencer, Bobby Gillespie, and Martina Topley-Bird are a bit ill-fitting and disappointing. [#79, p.124]
  15. And while Holmes can't be faulted for applying cut-and-paste to mood and drama as well as sounds and beats, his tracks' lack of freshness still adds up to an ambitious letdown.
User Score
8.8

Universal acclaim- based on 5 Ratings

User score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. TomM
    Dec 8, 2002
    10
    This album really rules!!