Emeritus concludes Scarface’s tenure as one of the genre’s favorite artists actively recording. It’s a depressing thought, yet this is an album that stands proudly among an already hugely influential back catalogue.

Bunyan's lilting ballads are as darling as ever. [Jan/Feb 2006, p.102]

Easily one of the best albums of 2003. [Jul 2003, p.94]

Perhaps it's one of those unlikely Warp releases that manages to pair technical precision with an all-too-rare feeling of humanity. [Apr 2002, p.119]

An album that blends genres and forms to spawn a rare breed of funky breakbeat-inspired rock.... Unfortunately, the vocal collaborations with the likes of Jon Spencer, Bobby Gillespie, and Martina Topley-Bird are a bit ill-fitting and disappointing. [#79, p.124]

The group maintains its own modern, unique sound while capturing and reimagining the familiar. [May 2006, p.95]

[A] powerful statement. [Oct 2004, p.101]

In it’s complete scope, the album contains all the master works we’re usually too scared to expect from a full-length these days.

The sounds here aren't quite what people are going out of their way to find these days, but these songs stick around for more than just a casual listen.

Experiencing multitudes of brief bangers is a rare treat. [Mar 2006, p.113]

They posses a talent for identifying the raw, emotive aspects of sound and speech in random statements and simple chord progressions. [Apr 2005, p.101]

To call these songs ambitious would be an understatement. [Oct 2005, p.76]

Eventually the payoff makes all the setup completely worth it. [Dec 2005, p.99]

Amazing new music from Shields.... The perfect soundtrack to a brilliant movie. [Dec 2003, p.89]

This is an amazing, innovative, storytelling record that takes you on [a] fantastic, fun trip. [Oct 2006, p.118]

This record sounds like nothing else in your collection. [Oct 2003, p.84]

Tarot Sport goes far beyond it's sonically daunting reaches and succeeds at being a deeply emotional experience.

An overdue look into one of Scotland's most underrated bands. [Dec 2006, p.116]

Stith’s ability to combine sounds into a sort of post-modern tribal folk is what makes the album so enjoyable to listen to.

Truly strange and beautiful. [Jul/Aug 2005, p.102]

Black thrives on his own, finding strength in lyrical risk-taking that ultimately makes the Milk name ring thicker and sweeter than ever before. [Nov/Dec 2008, p.84]

Their wall of sounds with lush keyboards and itchy guitars still fire strong. [Nov 2003, p.92]

Ethiopium is an instant classic that reveals its true essence after every listen, and as such, will only reward those who prove worthy.

Maybe that's how we need to view this record--a little less anxious in our anticipation and balanced out with a little more enjoyment. Then, it just might be a classic.

His dark, gritty boom bap is back. Better than ever.

Disarmingly intimate. [Dec 2003, p.87]

The Roots' energy is claustrophobic and thus, jaded. It still has a prominent place on Game Theory, but when it's not subdued, it's downright bitter. [Sep 2006, p.142]

Their sound is an interesting polyglot, one as easily accessible to dance minimalists and brown corduroy-wearing emo boys, and with nary a compromise. [Apr 2004, p.86]