Admittedly, the album drags in parts, but Out Where is still a success. [Oct 2002, p.88]

The album straddles old-school R&B, hip-hop, adeep house and anything else that illuminates Jeff's mad production skills. [Aug 2002, p.79]

The duo's ingenuity and willingness to push the envelope shines as brave and completely commendable. [Apr 2001, p.90]

In stark contrast to his previous experiments with computer sound artifacts and process-driven minimal click arias, Commers barrels out with harsh walls of thrashing interference and feedback in track after track. [Aug 2001, p.78]

[Eminem's] three solo offerings... are the strongest cuts from a very strong album. [Jan 2003, p.84]

A pretty solid IDM-goes-funky effort. [May 2001, p.78]

Their most consistent, simplied effort. [Feb 2002, p.76]

The best sex-obsessed album since Prince's Dirty Mind. [Nov 2002, p.78]

Unrestrained by the limits of producing a radio-friendly album, Mirwais produced an excellent album that can be appreciated by both fans and critics of Madonna. [Apr 2001, p.92]

A diverse, versatile selection of tracks. [Apr 2002, p.94]

Get Ready succeeds in feeling like a New Order record despite all its new flavors. [Sep 2001, p.86]

Come With Us transcends the duo's once-signature style, using a diverse palette of sounds and rhythms to create songs most applicable to the big-room dancefloor. [Jan 2002, p.73]

More Michael Caine chill than Sean Connery cool, but equally suave. [Oct 2002, p.88]

The album is witty and fun and will appeal to a wide variety of people. [Apr 2002, p.82]

[Emerson's] absence has liberated rather than weakened Hyde and Smith. [Sep 2002, p.74]

Armstrong's arrangements have the emotional resonance to move your mind to more serene locales. [May 2002, p.78]

Groove Armada's most mature and settled work to date. [Sep 2001, p.83]

It is good to see such experimentation by an artist in a field usually associated with being so genre-specific. [July 2001, p.82]

Daybreaker is Orton's ultimate heartstring-pulling concoction. [Jul 2002, p.80]

An album of sheer brutal force. [Jul 2002, p.79]

Offers a little bit of everything, but stays deeply rooted in stoney, catchy house music. [Jul 2002, p.79]

Channels the voices of Gary Numan and Missing Persons through the mouths of Black Box Recorder and Laurie Anderson. [Jun 2002, p.87]

He has come into his own as a tech-savvy songwriter who can make the sampled-bits, live horn sections and real string arrangements speak for him, not louder than him. [Nov 2002, p.79]

As good at home as in the clubs, the Beings don't compromise integrity for catchiness, managing to offer healthy helpings of both. [Sep 2002, p.76]

The album's edgy urban vibe, psychedelia and reggae find the Armada merging all of their varied influences into a collection that pounces with monster grooves and purrs with low-slung downtempo tunes. [Jan 2003, p.72]

While not weighty or moody or even all that original at times, you can say one thing: Leroy's Beck-cum-brit-pop at least knows how to entertain better than most of what Carl Craig's put out lately. [Jul 2001, p.82]

Manages to be simultaneously more minimal and more menacing. [Nov 2002, p.79]

Ultimately, Evil Heat is more evocative than innovative, but why rewrite the book when it's already a compelling read. [Dec 2002, p.80]