Some compared Simian's debut to the Beta Band, but this is much more retro, raw and rockin'. [Jan 2003, p.76]

The tracks are often tuneful, but they're too downtempo for anything but the chill room. [May 2002, p.74]

As perfectly all-over-the-place as Air's Moon Safari and as stick-to-your-ribs as any electro record this year. [May 2002, p.76]

Its simple structures create memorable and identifiable songs. [Sep 2002, p.76]

The result is confused, equal parts avant garde, rock and electronic. [Sep 2001, p.90]

This record is neat and all, but Buzzkunst doesn't add to the collective legacy of Shelley and Devoto. [June 2002, p.88]

The disc comes across like the best B-sides compliation you've never heard. [Nov 2002, p.77]

[A] slick, street-smart album of sassy party tracks and sensitive slow jams. [Jan 2003, p.73]

Some cuts get too enamored with their own groove to acutally go anywhere. [Apr 2002, p.77]

Enveloping, winding, shape-shifting jams that stick together like a deep headphone jam session more than they stick out as noodly jazz guys. [Apr 2002, p.78]

Their most cohesive work to date. [Nov 2002, p.80]

The well-produced sheen of Gusgus' biggest club hits may be gone, but longtime fans should be open-minded enough to accept these mostly interesting, and danceable, explorations of techno's funky roots. [Sep 2002, p.80]

A hit-and-miss release. [Nov 2002, p.80]

Other than two noteworthy tracks, the first disc is essentially filler. [Jan 2003, p.73]

Unfortunately, Heathen is as much Tin Machine as Outsider. [Aug 2002, p.79]

A lukewarm tribute to '80s industrial music. [Sep 2002, p.80]

The cutesy factor may necessitate an insulin shot before repeated listening. [July 2002, p.80]

Boasts the same predictable guitar riffs and unengaging listening experience as the outfit's other recent works. [May 2002, p.72]