Fever makes Britney Spears seem like even more of a pop genius. Scary. [May 2002, p.116]

Jump Leads mixes up so many tasty ingredients -- vocals, live instruments, a lysergic meltdown of beats -- that it could be the album that sees Cobby and McSherry getting the acclaim they deserve. [Mar 2002, p.115]

For the completists. [Apr 2002, p.120]

Put [Monkey] on in the background and it'll sound good, but you won't necessarily notice it. [Apr 2002, p.126]

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]

Come With Us will doubtlessly electrify their legions of fans and just as effortlessly enrage the condescending cognoscenti that loves to hate them. [#90, p.120]

Departs from the most interesting moments of his past work and thankfully st-st-st-st-stays there awhile.

Instead of just blowing the dust off of relics from his childhood closet, he's embraced the neon ehtos of the era and produced and actual New Wave album that still sounds eerily contemporary. [#90, p.118]

It simply doesn't satisfy. [#90, p.115]

Experimental hip-hop and moppish guitar pop *can* go hand in hand. [#90, p.118]

Next to the Eels and Atmosphere, eclectic and earnest self-examination hasn't sounded this interesting (not to mention entertaining) in a while. [Aug 2002, p.118]

An album full of interesting possibilities, but only a few memorable songs. [Mar 2002, p.120]

Expansion Team reveals Dilated Peoples to be a straight-up hip-hop group, for better or worse. [Nov/Dec 2001, p.136]

Drukqs is the most sincere album [James] has released since 1995's I Care Because You Do. [Nov/Dec 2001, p.131]

An utterly modern, far-out reverie of an album. The whole thing works like a charm. [Oct 2001, p.128]

This girl's gritty production and fluid time signature shifts make for an intriguing listen. [Oct 2001, p.134]

When there are moments, they strike and wittingly pull bodies off seats. [Oct 2001, p.128]

Much of the album fails to make sparks. [Nov/Dec 2001, p.142]

The Altogether is, all stated evidence to the contrary, a remarkable work. Why? Because it is the product of two brothers who, understanding that they can kid neither the audience nor themselves, mapped a musical course based on their root love -- musical energy -- and never strayed. [Sep 2001, p.147]

Listeners hoping for a radical departure from previous outings may be disappointed to find that the disc doesn't necessarily break new ground... [Sep 2001, p.152]

The Saints' talent seems lost in the mix as they fall victim to their signature technique and sound. [Sep 2001, p.154]

While the debut from the classically trained Philly native runs a little long, it's still an impressive and diverse hack at that tricky hip-hop/soul niche. [Sep 2001, p.148]

This well-engineered album's ideas have been gestating a little too long. You might just say it's the best album of 1998. [Sep 2001, p.152]

It's a mix of contemporary hardcore and vintage Squarepusher where he never lets things settle, scrabbling away with sublime and obnoxious results. [Sep 2001, p.152]

Autechre are mulching electronic music, letting their code sweat and rot in the heat. In doing so, they set off a complex ecological process that is interesting to watch, if not always pretty to listen to. [#84, p.105]

Hip-hop, soul, reggae and other influences are skillfully interwoven into a consistently strong whole.... An engaging, intelligent album. [#82, p.146]

So even as Tortoise integrate guitar surrealism and edgier motifs into their palette, they also progress their unique relationship to electronic music and hip-hop. [#82, p.139]

The music is accessible and poppy without dumbing-down the analog arrangements or their coffeehouse terrorist aesthetic. [#84, p.114]