An eyes-closed, head-bobbing masterpiece. [Oct 2002, p.86]

Everybody Got Their Something has something for almost everybody... [Jul 2001, p.86]

It's safe to say that if you liked Em's last two albums, you'll like this one. [Aug 2002, p.80]

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]

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

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]

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

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]

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

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

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

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]

What Cruelty Without Beauty lacks in originality it more than makes up for with sheer wit. [Oct 2002, p.81]

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

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