Offers a little bit of everything, but stays deeply rooted in stoney, catchy house music. [Jul 2002, p.79]

The most poignant artistic statement of his career. [May 2002, p.70]

Release slowly unfolds with a sparse elegance, resonating as the detached dance-popsmiths' finest complete album in a decade. [June 2002, p.90]

Armstrong's arrangements have the emotional resonance to move your mind to more serene locales. [May 2002, p.78]

Enveloping, winding, shape-shifting jams that stick together like a deep headphone jam session more than they stick out as noodly jazz guys. [Apr 2002, p.78]

The album is witty and fun and will appeal to a wide variety of people. [Apr 2002, p.82]

This kind of sonic bravado is truly impressive. [May 2002, p.72]

Boasts the same predictable guitar riffs and unengaging listening experience as the outfit's other recent works. [May 2002, p.72]

Some cuts get too enamored with their own groove to acutally go anywhere. [Apr 2002, p.77]

Embraces edgy live instrumentation that adds a preferred rawness to the trio's unique brand of urban jams. [Jan 2002, p.73]

An engaging, challenging listen. [Apr 2002, p.77]

This record is neat and all, but Buzzkunst doesn't add to the collective legacy of Shelley and Devoto. [June 2002, p.88]

As perfectly all-over-the-place as Air's Moon Safari and as stick-to-your-ribs as any electro record this year. [May 2002, p.76]

A work that displays more forward-thinking musical maturity than any diva in her league. May 2002, p.72]

The cuts resonate with more creativity and originality than most stuff on the shelves. [Apr 2002, p.82]

The sophistication of its upbeat electro-pop construction allows Kylie to fly while her contemporaries simply float. [Apr 2002, p.77]

Their most consistent, simplied effort. [Feb 2002, p.76]

The tracks are often tuneful, but they're too downtempo for anything but the chill room. [May 2002, p.74]

A diverse, versatile selection of tracks. [Apr 2002, p.94]

For the most part, Geogaddi only hints at new directions. But then, if it ain't broke, why fix it? [Apr 2002, p.78]

The crunchy guitars that underpinned some of the tracks on X are now up front, giving the whole collection the feel of early Manchester bands like Happy Mondays. [Feb 2002, p.74]

Come With Us transcends the duo's once-signature style, using a diverse palette of sounds and rhythms to create songs most applicable to the big-room dancefloor. [Jan 2002, p.73]

Whatever drops some intense audio warfare that (dis)colors tech-house with fierce new wave, electro, industrial and punk hues. [Nov 2001, p.72]

It's amazing that a band renowned for studio wizardry can succeed at duplicating, much less eclipsing, its magic onstage. [Jan 2002, p.76]

Their sound is remarkably fresh, for the kaleidoscope of samples from as many eras as vinyl has existed not only add musical credibility, but also add a depth to this extremely fun album. [May 2001, p.80]

Sounds more like a greatest hits collection than a singular artistic statement.... Drukqs is unparalleled in its production and undeniable in its brilliance. [Nov 2001, p.73]

Get Ready succeeds in feeling like a New Order record despite all its new flavors. [Sep 2001, p.86]

Isn't as ambitious or effective as the trio's genre-smashing debut, but it should still keep dancefloors and mosh pits sweaty all year. [Jan 2002, p.74]