The Saints' talent seems lost in the mix as they fall victim to their signature technique and sound. [Sep 2001, p.154]

While Hello Everything is everything you'd expect a Squarepusher LP to be, therein lies the problem: It's exactly everything you'd expect a Squarepusher album to be. [Oct 2006, p.130]

A hard one to wrap your head around. [Oct 2005, p.84]

Sam's Town is bloated with verses that helplessly swipe at capturing something, anything, significantly American. [Oct 2006, p.129]

Walk It Off does offer a few highlights, but it fails to yield a comprehensive sense of T&T's sound, and blatantly lacks any cohesive progression.

Much of the album fails to make sparks. [Nov/Dec 2001, p.142]

As a whole, Colonia takes on a very operatic, larger than life, almost ABBA-esque quality, which grows a bit tired as the album winds down.

Too much of Wood lumbers on and on and on... [May 2006, p.95]

Overall, Listening Tree is all about Tim, and his deep closeted skeletons and inner demons, which are far too abstract to be even remotely relatable or fun to sweat it out to their exorcisms.

With hardly a breakbeat in sight, RJ's sophomore effort plays like an homage to '80s-era easy listening.... An ambitious effort, but a failure all the same. [May 2004, p.86]

Their vocals sound more unenthused and bored than detached or sinister. [Sep 2003, p.101]

With a handful of good moments, and one standout track, this sophomore effort by one Sally Shapiro and her producer Johan Agebjörn, is mediocre.

While it’s commendable, if unnecessary, that Whitney and Votolato are exploring new musical areas, there’s no denying the fact that if Take Me to the Sea ever ran into Hologram Jams in a dark alley, Hologram would be down for the count.

An album full of interesting possibilities, but only a few memorable songs. [Mar 2002, p.120]

Fist of God is surprisingly decent if you can manage to divorce it from its lame context.

If American Supreme showed up today as the product of youngsters, Suicide would be called electro-clash. [Dec 2002, p.92]

His electro sound [cannot] stand out through the chaff of a million imitators over two decades. [Dec 2004, p.118]

When there are moments, they strike and wittingly pull bodies off seats. [Oct 2001, p.128]

This is what Nelly's Brass Knuckles is best summarized as...a club jam.

Thorburn’s second record writing songs with the group Islands shows admirable ambition and eclectic musicianship. What hinders this release, however, is a matter of composition.

Notwithstanding a few guaranteed pop hits, the new album will probably leave most dance diehards cold... the album's dance cuts stick to the typical sampling-and-looping aesthetic that's been a bit tired for a while. [#79, p.123]

The tactic [of increased vocals] hits and misses, as the album's standout tracks owe their success to the crew's innovative and polished production, not their lyrical prowess. [Jul/Aug 2005, p.104]

Incessantly innovative, it's charming as hell for about the duration of a sidelong glance. [Aug 2003, p.89]

Most of Creature Comforts is hypnotic, if hardly soothing, noisemaking. [Jul/Aug 2004, p.124]

The rest of her songs on Anjulie are really hit and miss. Some are catchy enough to enjoy, others are boring enough to forget about.

It's hard to care, to jump, jive and join the cause, when singer-guitarist Jenny Hoysten barely musters anything above flat, monotonous speak-singing. [Jul/Aug 2006, p.118]

It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.

Painfully unexciting. [Mar 2006, p.122]