Their sound is remarkably fresh, for the kaleidoscope of samples from as many eras as vinyl has existed not only add musical credibility, but also add a depth to this extremely fun album. [May 2001, p.80]

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]

This kind of sonic bravado is truly impressive. [May 2002, p.72]

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

As endearing as early Ween. [Jan 2002, p.76]

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

Embraces edgy live instrumentation that adds a preferred rawness to the trio's unique brand of urban jams. [Jan 2002, p.73]

Clever and catchy at every turn. [Jan 2003, p.74]

Multi-hued melodies flow like lava and threaten to swallow foothills of funk. [Nov 2002, p.78]

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]

Intelligent, rugged and moving, Lost Tapes is everything Stillmatic should have been. [Dec 2002, p.76]

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 hip-hop record brimming with soul and artistry. [Jan 2003, p.74]

Anyone interested in thoughtful, moody downtempo instrumentals will definitely enjoy this. [Dec 2002, p.76]

Not for the masses, but a treat for those turned on by the erratic tendencies of free jazz. [Sep 2002, p.75]

One of the most thought-provoking hip-hop albums in recent years. [Dec 2002, p.75]

Minimalist yet incredibly expansive. [Jan 2003, p.74]

While Layo & Bushwacka! could have pieced together a compilation of their bountiful peak-time material (and easily sold it), they chose to expand their artistic scope by revisiting the art of the proper artist album. And in those terms, Night Works works wonders. [Sep 2002, p.76]

You get the impression that the sound is simply a synthesis of all the things he has listened to and enjoyed. [Nov 2001, p.76]

Isn't as ambitious or effective as the trio's genre-smashing debut, but it should still keep dancefloors and mosh pits sweaty all year. [Jan 2002, p.74]

Riding a delicate balance of acid house and electro, Machine Says Yes is as cold as it is hot. [Dec 2002, p.76]

Release slowly unfolds with a sparse elegance, resonating as the detached dance-popsmiths' finest complete album in a decade. [June 2002, p.90]

It's amazing that a band renowned for studio wizardry can succeed at duplicating, much less eclipsing, its magic onstage. [Jan 2002, p.76]

Atmosphere creates hip-hop that is more than the sum of its parts. [Aug 2002, p.82]

Darker and edgier than their past venture. [Oct 2002, p.80]

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

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