There's a quality of randomness on The W that prevents it from cohering as an album. But even if it's just a collection of songs, The W is undeniably impressive, packing the kind of gritty, aggressive anthems that have been notably missing from most of the recent Wu solo albums. [#82, p. 148]

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]

To call Stankonia the album of the year would be easy. It would also be somewhat incomplete. The Atlanta duo's fourth album is more than simply a great record; it's a complex tome that enmeshes contemporary hip-hop values with a timeless Southern soul, while pushing the envelope damn near off the table. [#79, p.134]

In The Mode is at its most invigorating when it eschews the now tired-sounding rare groove and cool-jazz format of 'New Forms' for a sound that combines more bounce-friendly radio sounds with a hint of menace. [#79, p.136]

Photek has always been about his drums more than his bass, so it doesn't surprise that some of the tracks on Solaris are more techno than jungle. But vocal house? (#78, p.115)

The stance on Essence is less confrontational than its precursor, more a life-affirming offering to elemental forces. [#79, p.128]

Mirror Conspiracy's thoughtful drum programs hardly become drowsy or monotonous... Unfortunately the occasional lyrical overdose also leaves some tracks seeming a little too light. [#77, p.130]

The freshness that figured into De La's previous four albums feels a touch staler here. (#78, p.116)

An album that blends genres and forms to spawn a rare breed of funky breakbeat-inspired rock.... Unfortunately, the vocal collaborations with the likes of Jon Spencer, Bobby Gillespie, and Martina Topley-Bird are a bit ill-fitting and disappointing. [#79, p.124]