He finally seems to be combining alll of his varied interests into a complete package more substantive than his earlier, smark-alecky adventures. [Mar 2004, p.108]

Kozelek can make even the most lively of songs one strum shy of a death rattle. [Jan/Feb 2006, p.103]

Sometimes the '70s feel gets feeling hella silly. [Mar 2007, p.96]

Compared to 2003's Living In America, the disco-punk is less explicitly Blondie-biting and actually noticeably more weary, but no less propulsive and vamping. [Mar 2006, p.119]

The record falters only when Ace recounts a gangster parable about shady dealings with a certain Fats Belvedere. [Sep 2004, p.116]

There's a quality of randomness on The W that prevents it from cohering as an album. But even if it's just a collection of songs, The W is undeniably impressive, packing the kind of gritty, aggressive anthems that have been notably missing from most of the recent Wu solo albums. [#82, p. 148]

If you're over 25, then expect to find yourself peering at your old teen angst like some sort of barely remembered dream. [Jan/Feb 2005, p.95]

The result is a sound of un-epic mopeyness, more surface than interior and arguably more truthful because of it. [Apr 2006, p.84]

Lyrically, Khan really cuts loose, switching from everyday matters to sinister fantasies, often during the same song, and all with extraordinary confidence.

One answer, really...bass. Or, lack of bass. Having tested the disc on several systems, I can only determine that someone at Daft Punk central, or Virgin Records decided to master this disc like a pop record, the mids jacked to high heaven while the sub-bass, the stuff that actually makes you move, is completely erased.

More! is filled with playful, soft and dynamic production, but instead of having a fluid album format, it feels a little inconsistent. And an unnecessary and dated vocal feature from Yello on "Divine," weakens the whole flow and picture.

Tecnicolor Wall of Sound confections. [Apr 2006, p.96]