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A few rhythmically awkward moments detract from the album’s overall flow, particularly on 'High Life,' but chalk that up to two competing staccato production styles.
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Simply put, Two Fingers is pretty much everything that anyone with an interest in clubtronica has been waiting for.
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The only aspect that prevents this album from achieving flawless cohesion is the fact that each track sounds so distinctly different, so much that it’s almost a chore to readjust to the new sounds one is bombarded with from track to track.
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Q MagazineThe real relevation, though, is guest rapper Sway, who ditches his cheeky pop persona in favour of a prowling delivery perfectly suited to the title track's rolling bass and Eastern-tinged 'Jewels And Gems.' [May 2009, p.113]
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The whole record is a smart little left-turn for everyone involved. And if it's not quite an unalloyed triumph, I would totally play a video game with this soundtrack.
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In a vacuum, it’s a captivating and well-designed experiment. But in this real world where hip-hop is history, where it owns that history, wears it, references it, reflects it, bounces it around, Two Fingers’ record comes off overcooked and overflowing.
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Under The RadarModern cityscapes, dilapidated by neglect, spring to mind when listening to police-dissing banger, 'What You Know.' Its police-siren chorus is the one moment of levity on a somewhat harsh release. [Spring 2009, p.77]
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UncutSway, however, doesn't command proceedings quite like Chuck D and the prosaic narratives of tracks like 'That Girl' are no substitute for verbal fireworks. Nearly though. [May 2009, p.101]
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Alternative PressAmon Tobin and Joe "Doubleclick" Chapman have created some truly interesting sounds, but the end result is sadly just another trip-hop excursion with lame rapping over the top. [May 2009, p.123]