Fans of Squarepusher's trademark schizophrenic d'n'b beats will enjoy the title cut.... Other tracks completely disintegrate into severe experimentalism, changing from music to art-sound installations. [Oct 2002, p.81]

More Michael Caine chill than Sean Connery cool, but equally suave. [Oct 2002, p.88]

A lukewarm tribute to '80s industrial music. [Sep 2002, p.80]

Intelligent, rugged and moving, Lost Tapes is everything Stillmatic should have been. [Dec 2002, p.76]

[Emerson's] absence has liberated rather than weakened Hyde and Smith. [Sep 2002, p.74]

Darker and edgier than their past venture. [Oct 2002, p.80]

As good at home as in the clubs, the Beings don't compromise integrity for catchiness, managing to offer healthy helpings of both. [Sep 2002, p.76]

While Layo & Bushwacka! could have pieced together a compilation of their bountiful peak-time material (and easily sold it), they chose to expand their artistic scope by revisiting the art of the proper artist album. And in those terms, Night Works works wonders. [Sep 2002, p.76]

He has come into his own as a tech-savvy songwriter who can make the sampled-bits, live horn sections and real string arrangements speak for him, not louder than him. [Nov 2002, p.79]

If you liked previous Nightmares On Wax material, this one won't do it for you, as Evelyn's music has grown more vocal-based and less "stony."

Ultra Sex represents everything that's great about electro. [Nov 2002, p.78]

The well-produced sheen of Gusgus' biggest club hits may be gone, but longtime fans should be open-minded enough to accept these mostly interesting, and danceable, explorations of techno's funky roots. [Sep 2002, p.80]

The album straddles old-school R&B, hip-hop, adeep house and anything else that illuminates Jeff's mad production skills. [Aug 2002, p.79]

Its simple structures create memorable and identifiable songs. [Sep 2002, p.76]

As a document of solid, if not always spectacular, post-modern hip-hop that dips into soul and R&B, Trinity is worth the money. [Aug 2002, p.82]

The album will wear thin on short-attention-spanned listeners who need their dance albums dosed with a bit more variety. [Aug 2002, p.79]

The album's sole fault (if you can call it that) is a tendency to stick with sure-fire classics. [Aug 2002, p.78]

Daybreaker is Orton's ultimate heartstring-pulling concoction. [Jul 2002, p.80]

A freakazoid musical pastiche. [Oct 2002, p.83]

Some songs do morph into mere mood pieces... but Charango remains a fine return to form. [AUg 2002, p.80]

Not for the masses, but a treat for those turned on by the erratic tendencies of free jazz. [Sep 2002, p.75]

The cutesy factor may necessitate an insulin shot before repeated listening. [July 2002, p.80]

A deep, dark and dirty affair. [June 2002, p.88]

Atmosphere creates hip-hop that is more than the sum of its parts. [Aug 2002, p.82]

Unfortunately, Heathen is as much Tin Machine as Outsider. [Aug 2002, p.79]

The boys are as competent on straightforward dance tracks as they are on Verve-esque pop-rock cuts. [Jul 2002, p.80]

By using his hip-hop chops to express some next school emotions, Shadow comes up with something that doesn't just sound new, it feels new. [Jun 2002, p.86]

David has composed 10 songs that work together as a concept album. But for everyday listening? Well, that's a somewhat different story. [Jun 2002, p.87]