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The WireFeb 23, 2018What's so delightful is how everything instantly clicks back into place for the listener who is familiar with Dab's work, how accessible and pleasurable his sound is for anyone coming to it for the first time. [Mar 2018, p.46]
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MojoFeb 22, 2018Peppered with succinct instrumentals, Three/Three switches styles with impunity, smudging the lines between old and new. [Mar 2018, p.93]
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Feb 22, 2018Although there are ominous qualities to some of the tracks--blunt drums, clanging noises, refracted and probing synthesizers evoking not-so-fun houses and slasher flicks--this is brighter than Two/Three. Sweet and synthetic woodwinds and strings, sublime piano loops, and other delightful wrinkles are more common than the creep-out components.
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Feb 22, 2018Its production quality is equal to Two/Three, but it contains few surprises for older fans. As such, it isn't much of a progression, but it does feel greatly satisfying, and not only for the comfort of finally completing the trilogy.
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Q MagazineFeb 22, 2018The results are still as unsettling as they are stunning. [Mar 2018, p.107]
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Mar 7, 2018Mullinix's production chops have improved enormously in the 12 years since Two/Three—today, he sounds more like a proper hip-hop producer than a quirky crossover act. Listening to Three/Three, though, you might miss that crossover a bit.
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Feb 27, 2018Three/Three is stacked with features from Detroit area MCs (Danny Brown, Clear Soul Forces) and heavy-hitting veterans (MF DOOM, Ghostface Killah), but only a handful of his guests truly rise to the occasion.
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Apr 19, 2018The Doom-helmed ‘Lil Mufukuz’ and Phat Kat’s ‘Bubble Up’ show the Dabrye-plus-MC chemistry at its best, but if there was ever a criticism of the previous entries in this trilogy, it was that Dabrye struggled when it came to trimming the tracklist. ... The same is unfortunately the case here too.