His dark, gritty boom bap is back. Better than ever.

It’s far from perfect, sloppy and trance-like, but feels suffused with a blast of inspiration the musicians simply had to get out.

The highlight of this album is Blueprint's pensive, jazzy landscape of strangled horns and muddy synths. [Jan/Feb 2005, p.94]

Metallic Spheres, a collaboration with electronica legends the Orb, represents his boldest and most satisfying footnote to date.

No Age might be what you've been seeking this whole time. If you're just a music snob and pride yourself on some peculiar yet ostensibly good sounds, this is definitely for you's as well. If you're looking for something else, something that utilizes more traditional instruments toward a particular and thought-provoking sonic texture, I sincerely recommend mathematical rockers No Age as a band altogether and thus unreservedly their work on Everything in Between as well!

This is not just academic and abstract music for the headphone philosopher, but proper soulful stuff that will rock more adventurous dance floors. [Aug 2003, p.90]

Explores the previously uncharted territory where shouty alt.rock meets a cappella vocals and skinny-tied new-wave melody. [Nov 2004, p.99]

Stalwart fans of Morcheeba won't be disappointed. [Mar/Apr 2008, p.106]

Collas and Marquand hold things down with DJ tightness, while members of bands like TV on the Radio and The Dap Kings let loose in the grooves.

At times self-indulgent, The Colossus contains enough of the parts that made RJD2 relevant in the past to reignite interest in both this album and his vast (and growing due to unreleased material) back catalogue of work.

Closer in spirit to Matmos' The Civil War than to any rap record, Ten dares you to let your inner child out to play. [Mar 2004, p.108]

Once the headphones are in place, it becomes apparent that the Frenchman has indeed pulled off another masterful work. [Mar 2005, p.111]

Javelin know what they're good at, where they stand, and they aren't trying to shove their knowledge and musical interests in their listeners faces. Instead, they let them find it for themselves by picking up on bits and pieces and carrying them forward, focusing on what interests them without having to worry about what they don't.

A solid record of contagious melodies and dance-tastic beats. [Jul/Aug 2004, p.125]

[A] blend of wobbly slide guitar chords and simple, steamy beats. [Nov 2006, p.128]

But if this is not a problem for you (there’s hardly a word of English), then you’ll enjoy the warm dialogue and glacial crooning of an ancient tongue presented over a psychedelic mix of some of the dark continents finest.

If Pilot Talk was the daylight that showcased Curren$y's talent to the world, part 2 is that evening's afterparty.

It's mostly about a rollicking anti-frat party, where grizzled indie kids take ecstasy and discover the primal appeal of the dance floor. [Mar 2005, p.112]

Any notions of the dreaded sophomore slump disappear seconds into their new album It’s a Bit Complicated.

Black Dialogue has finally captured the Perceptionists' on-stage charisma and fraternity. [Apr 2005, p.103]

Another impressive and complex recording. [Sep 2006, p.139]

Despite not being as mesmerizingly immense as some of his earlier output, the record is still a far-out journey of dramatics ("Restart" and "Levels"), hooky winners ("Robots" and "Think It Over") and real-world lament ("Flying" and "Think It Over"). In short, the wait paid off.

Far from sloppy seconds, the album's both imminently enjoyable and a valuable glimpse into the creative process of one of hip-hop's most accomplished producers. [Apr 2006, p.88]

What Max has created as a result is nothing short of amazing.

Cookie is a true musical treat that more than hits its mark with seriously sublime style. [Aug 2002, p.118]

Mathematics’ more traditional drumwork keeps this distinct from a RZA production and provides a surprisingly snappy cohesion to the whole affair.

Two Suns doesn’t have to parade itself around as a concept album to prove that music has always been, and always should be, about telling a story, as Khan does here.

Zero 7 have perfected the formula for folk jazz that transcends definition and defies classification, always taking you on joyous rides that often end at a truly unexpected place. [Jun 2006, p.108]