With the quality and effort put into this release, Def Jux and Aesop Rock have done what every EP should do, provide something of unique value and create anticipation for future releases.

Songs like "Fast Cars"... are gregarious, just like the beats, which are playful where Bazooka was ponderous. [Mar 2005, p.85]

Fluff-heavy, Fast Cars snitches on the upcoming full-length: Blockhead better be back on beats, because Bavitz is moving in a sparse, faux-spacey direction that sounds bored compared to his busy work on Bazooka Tooth, Labor Days, and Daylight. But since there’s always going to be two or three songs on any Aesop release that deserve your Jukie-Board sig file, and especially since the The Living Human Curiosity Sideshow finally allows the listener to figure out what the lyrics to those great songs are, this one is just barely worth your lunch money as well.

Further evidence of his dazzling wordplay. [May 2005, p.103]

He can go from dazzling to deadeningly dense over LP lengths, so this smaller dose is appealing. [Apr 2005, p.112]

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

Rock's marathon verses are so long and involved that it takes a few listens just to digest them, which their density and harshness makes a little daunting.

Falling over his lines in lung-collapsing fashion, Fast Cars, Danger, Fire and Knives grafts special-ops gadgetry onto the framework of T La Rock's classic pronouncement of empowerment.

The music alone nearly justifies the cost, improving on the dense atmosphere pervading Aesop's mostly self-produced Bazooka Tooth, and returning ace producer Blockhead to his prime role in the control chair.

This level of gross hallucination could risk indulgence... But for straight-up bad vibes to the head, Fast Cars is compelling. [#252, p.67]