Laptop pop that shimmers, shakes and twists like the precocious child of Aphex Twin, Spiritualized and the Beatles. [Aug 2003, p.89]

More style than substance. [#104, p.95]

Is not a very interesting album for a number of reasons. [Jun 2003, p.94]

It's the album many heads wished Lauryn Hill had come back with instead of that weepy acoustic exercise. [Mar 2003, p.94]

Skimskitta is starkly personal, increasingly hermitic, resulting in only a handful of immediate rewards. [Mar 2003, p.94]

A failed merger of trip-hop's smoky grooves and psychedelic rock's galactic textures. [Mar 2003, p.94]

A bewitching brew of triumphant introspection that, while not unprecedented, is still plenty personal. [Mar 2003, p.95]

In spite of some awkward moments, though, Tomorrow Right Now is a dynamic endeavor from a compelling artist. [Mar 2003, p.93]

While conscious rap often comes off as dour, this is a thoroughly enjoyable record, dignified and jiggy all at once. [Mar 2003, p.94]

His fiercest, finest record. [Feb 2003, p.94]

Takemura's most embraceable album to date. [Jan 2003, p.77]

The album feels like a series of diminishing returns. [Feb 2003, p.93]

While its hardly an overwhelming masterpiece like Blue Lines or Protection, it still stands head and shoulders above most everything else. [Mar 2003, p.95]

Despite the fresh reworking, tracks like "For An Angel" and "Another Way" retain the heartfelt with synthetic, catchy cores that made them such beloved trance anthems in the first place. [Mar 2003, p.99]

The results have a better chance of ending up in mom's Volvo than your iPod. [Jan 2003, p.76]

This impressive album sounds like the work of old souls. [Nov 2002, p.100]

An emo-rap fan's wet dream. [Feb 2003, p.93]

It's just all so blissed-out and soothing you won't know what to do with yourself. [Dec 2002, p.92]

Positively dripping with crude funk. [Mar 2003, p.95]

While it misses the suicidal rush of imminent destruction, Evil Heat still sounds dangerously rash. [Jan 2003, p.76]

In many ways, Twoism is more satisfying than their more difficult second album, Geogaddi. [Dec 2002, p.88]

A really freaky, fun ride into eclectism. [Nov 2002, p.94]

Touching Down evokes the unique funk sensibilities that made his seminal V Records and Full Cycle tracks so damn fresh, while giving you the sense that England's Bristolian isn't returning to anything, since he never left it behind to begin with. [Dec 2002, p.87]

A churning, droning, sickly sweet nouveau-electro trip. [Nov 2002, p.94]

If American Supreme showed up today as the product of youngsters, Suicide would be called electro-clash. [Dec 2002, p.92]

It's almost a relief when the album hangs up, like talking to a crazy and exhausting friend who didn't get the memo that we're all supposed to be zombie-d out like it's 1982 right now. [Dec 2002, p.88]

It's clear Saint Etienne have returned from their pastoral hiatus, ready to do what they do best: distill and riff on music history's catalog with inimitable style and substance. [Nov 2002, p.98]

The Streets' novel pairing of dance music and wordplay hits the mark more often than not, and it's a step in a potentially interesting direction. [Nov 2002, p.93]