Out Of Breach (Manchester's Revenge)

Retains electronica's futuristic rhythm-science and weird textures while still kicking out the jams. [May 2005, p.121]

Fulton’s beat-making is stellar, but devoting attention to it also necessitates suffering the consistently insufferable Kanamori, and stylistic schizophrenia that’s as jarring as it is unique.

A nasty, dense and confrontational mess.

Much of this dreary lyricism will be seen as English-as-a-second-language charm by so many -- and the album's lyric sheets, which put forth all the spelling-mistake-riddled broken English with pride, seem to be of the same belief. But loving that about this disc is like so much faint praise at best, and a pernicious kind of cultural condescension at worst.

Out of Breach is less suited for a fucked-up dance party than just for being fucked up.

Definitely not as funny or crazy as they think they are, but problably more than they need to be. [Apr 2005, p.108]

Out of Breach isn’t without its charms, but with an opening statement as assertive, exiting, and promising as Afro Finger and Gel, it certainly feels a little disappointing.

If anything, this album is best compared to the aesthetic of hip-hop, where allusions to universality and transcendence are simply non-existent, and what we are left with is content that will be dated within months.

A fashionably unruly racket. [Mar 2005, p.100]