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From the first few minutes of RUOK?, it's clear he's begun another shift, from the dense sampladelic dance of Actual Sounds + Voices to a sparse, haunted style that leaves much to the imagination but still displays acres of production prowess.
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While the beats and programming are done well, much of it simply seems like slight variations on tracks that he's already done.
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Alternative PressA raging slab of beats and sick samples accruing at a rate that may well cause motion sickness. [Dec 2002, p.86]
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BlenderAn utterly competent album that's devoid of politics, not to mention any genuinely exciting studio ideas. [#11, p.136]
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Moments of greater emotional color might have turned what is an exemplary post-breaks exploration by a master into something brilliant.
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MixerManages to be simultaneously more minimal and more menacing. [Nov 2002, p.79]
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Q MagazineNo longer ahead of his time, he has a deft enough touch to keep irrelevance at bay. [Jan 2003, p.120]
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The disc is an absorbing listen, and a crucial weapon in any battle for subwoofer supremacy, but as far as generating an emotional response is concerned, it pretty much flatlines.
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RUOK? sees Dangers with his abilities at their fullest, but with aspirations in a less interesting direction.
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The WireMBM's wholehearted embracing of the familiar is stronger than ever, erasing any freshness or innovation, and cancelling out all distinguishing features. [#226, p.72]
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UncutA hugely inventive collection. [Jan 2003, p.119]
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UrbLittle on RUOK possesses commercial cache, but what is that against a career-defining turn? [Nov 2002, p.96]
User score distribution:
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Positive: 0 out of 1
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Mixed: 0 out of 1
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Negative: 1 out of 1
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JasonDec 11, 2004