It's a promising thought to know there are musicians this deft and so easily able to push themselves through so many sonic boundaries at once--but in the end, the overt and ultimately, stifling seriousness surrounding it proves to be the largest boundary BLK JKS stand before.

Amid all the beaming newness of Radical Connector is something familiar and unsettling. [Sep 2004, p.116]

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

Distracting at times is Thomas’s voice--he seems to take pride in being purposefully off key--but breezy opener “Girls FM” and later the low key “Eyes Music” calm his shrieking affinity and keep him just where he needs to be; melodic.

With the Pixies re-run now seemingly over, it's good to hear the "other Deal" project back in full effect.

Painfully unexciting. [Mar 2006, p.122]

The record is a winning release, if not entirely novel, and the sound of a likable band honing their sound while refusing, somewhat obstinately, to alter it.

His vocal patterns on None Shall Pass are enthralling, but they mean absolutely nothing. [Sep/Oct 2007, p.127]

Too often Mr. Beast is dire sounding and dull, and nearing deadweight. [May 2006, p.86]

Dalek is like a fine beer...it is an acquired taste, but once you get past that part, it is delicious. This is demonstrated well on Gutter Tactics, his newest release.

While Kesto's sweeping scope is impressive, this long-player is best reserved for cold winter evenings and late-night introspection. [Jul/Aug 2004, p.126]

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]

Is similarly turn of the last century electronic, but in a darker and less slice and diced way. [May 2005, p.92]

Unfortunately, lead singer Pall Jenkins's vocals are not as spectacular as the arrangements backing him. [May 2006, p.82]

Despite some other choice cuts, there’s no cohesion to hold it together.

It succeeds in the same subversive manner Peaches did six years ago. [Jul/Aug 2006, p.118]

Even though Prekop and Prewitt continue interlocking their guitars over spiny rhythms from McEntire and Calridge throughout the set, something doesn't quite click often enough this time around. [Nov/Dec 2008, p.87]

[Contains] scattered but affecting shots of brilliance. [Oct 2006, p.117]

Musically, this record definitely shoots what it was aiming for, but I wouldn't listen to it unless you are, or want to be, severely depressed or disturbed.

There are fewer acerbic-tinged, catchy pop tracks that made thier last two efforts so essential. [Oct 2003, p.86]

No boredom here. [Jul/Aug 2005, p.108]

It goes down like a cold fresh glass of Jazzy Jeff and the Fresh Prince, circa 1988. [Sep 2003, p.102]

Certainly a nice full-length, though it would be interesting to see what a vocalist could add to their formula . [Jun 2004, p.86]

The blues stomps have been muted, and none of the 11 songs are her own. [Oct 2005, p.110]

When The Streets gets lazy, he becomes less of an artist and more like a novelty. [May 2006, p.80]

This is not a bad record, just not what the game needed from De La at the moment.

The tunes are taunt and chipper and the instrumentation is full and flirty as promised. But their tunefulness falls into question with these ears.

It sounds like Drew would still benefit from having his Canadian ragtag team behind him though, because his solo effort just isn't very strong.