Sounds more like a greatest hits collection than a singular artistic statement.... Drukqs is unparalleled in its production and undeniable in its brilliance. [Nov 2001, p.73]

A work of exquisite, afterparty brilliance. [Oct 2002, p.84]

Whatever drops some intense audio warfare that (dis)colors tech-house with fierce new wave, electro, industrial and punk hues. [Nov 2001, p.72]

A deep, dark and dirty affair. [June 2002, p.88]

One of the year's best drum 'n' bass albums. [Dec 2002, p.74]

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

His most refined sound to date. [Jul 2001, p.80]

The most poignant artistic statement of his career. [May 2002, p.70]

It's his lyrical earnestness that makes his decidedly British experience so universally appealing. [Nov 2002, p.76]

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]

For the most part, Geogaddi only hints at new directions. But then, if it ain't broke, why fix it? [Apr 2002, p.78]

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

Manages to be simultaneously more minimal and more menacing. [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]

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

With its soaring guitars and crashing drums, Tweekend sounds more like a rock album than an electronic album. [Aug 2001, p.77]

An engaging, challenging listen. [Apr 2002, p.77]

Maybe the stint scoring music for the acclaimed film The Virgin Suicides helped them segue their too-atmospheric-for-the-room lingerings into something more tangible. [May 2001, p.76]

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

The textured ambience is a simple, sumptuous recipe that is not wholly unprecedented, but certainly welcome. [Dec 2002, p.80]

A freakazoid musical pastiche. [Oct 2002, p.83]

The sophistication of its upbeat electro-pop construction allows Kylie to fly while her contemporaries simply float. [Apr 2002, p.77]

Undoubtedly the toughest music yet from the six-member crew, Phrenology may also be their best work, characterized by a powerful, head-nodding groove that carries through the entire album. [Nov 2002, p.78]

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]

By using his hip-hop chops to express some next school emotions, Shadow comes up with something that doesn't just sound new, it feels new. [Jun 2002, p.86]

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

The album's sole fault (if you can call it that) is a tendency to stick with sure-fire classics. [Aug 2002, p.78]