Rolling Stone (4/11/02, p.107) - Ranked #32 in Rolling Stone's "50 Coolest Records".Rolling Stone (5/13/99, p.80) - Included in Rolling Stone's "Essential Recordings of the 90's."Rolling Stone (4/3/97, pp.63-64) - 4 Stars (out of 5) - "...You can dance to it until your limbs turn to tapioca or just sit, listen and have your mind blown inside out....it burns the whole rock vs. techno argument into a fine white ash....Put it on, turn it up and let yourself be moved."Spin (9/99, p.123) - Ranked #10 in Spin Magazine's "90 Greatest Albums of the '90s."Spin (1/98, p.86) - Ranked #10 on Spin's list of the "Top 20 Albums Of The Year."Spin (5/97, p.109) - 8 (out of 10) - "...Their digitally dense breakbeat workouts offer a funk-at-your-own-risk proposition....All the Brothers want, God forbid, is to create a better place for just one night by cramming together all their favorite records. No more, no less..."Entertainment Weekly (4/18/97, pp.64-65) - "...DIG YOUR OWN HOLE may epitomize sound as substance, a dubious distinction at worst. But those sounds (like recycled voice snippets) become alluring hooks in and of themselves, bringing the record as close to pop as techno has come so far..."- Rating: AQ (10/01, p.63) - Ranked #29 in Q's "Best 50 Albums of Q's Lifetime"Q (12/99, p.92) - Included in Q Magazine's "90 Best Albums Of The 1990s."Q (6/00, p.72) - Ranked #42 in Q's "100 Greatest British Albums"Q (1/98, p.111) - Included in Q Magazine's "50 Best Albums of 1997."Q (5/97, pp.116-117) - 4 Stars (out of 5) - "...it is DIG YOUR OWN HOLE'S joyful revival of seemingly unfashionable sounds from yesterdisco--a teeth-sucking hi-hat on `It Doesn't Matter,' a bass that's positively Level 42 on the title track, tons of outmoded hip hop punctuation of the `Yes yes, y'all' variety...--that makes it such a rare treat..."Alternative Press (5/00, p.120) - Included in AP's "10 Essential Dance Albums That Rock" - "...Mixing block-rocking beats, acidic synth lines and high-profile guest stars, they convinced many people to call them the best 'rock' band around..."Option (5-6/97, pp.96-97) - "...a techno masterpiece....A nearly continuous mix blending funk, disco and hard trance, the disc never goes flat or runs short on sonic ideas....This kicks atomic booty."Melody Maker (12/20-27/97, pp.66-67) - Ranked #22 on Melody Maker's list of 1997's "Albums Of The Year."Village Voice (2/24/98) - Ranked #12 in the Village Voice's 1997 Pazz & Jop Critics' Poll.Village Voice (4/8/97, pp.65-69) - "...the duo's fondness for distortion, feedback, and rocklike noises makes air-guitar players feel right at home....While the Chemical Brothers successfully present themselves in a live context like a band, the duo mostly represents the next chapter in electronic music's increasing domination of global youth culture..."Village Voice (4/15/97, p.62) - "Their secret isn't technowizardry, formal daring, or Lord help us eclecticism. As with so many pop wunderkinds, it's spirit--generous, jubilant, unfazed by industrial doom, in love with energy and sound. Noel Gallagher only wishes he had their heart..." - Rating: A-NME (Magazine) (12/20-27/97, pp.78-79) - Ranked #12 in NME's 1997 Critics' Poll.
Dirty Linen (p.88) - "As if the music weren't already inherently infectious, Nathan Williams, 20 years into his career, adds an extra dose of energy..."Living Blues (p.42) - "[D]istinguished by a high level of musicianship and songwriting -- and by the band's evident devotion to the integrity of zydeco."
Down Beat (p.62) - 3.5 stars out of 5 -- "With HERE, jaunty meant informal-yet-dapper and somewhat roguish; the remarkable music bristled with right-hand flurries that felt like they weren't locked into any particular rules."JazzTimes (p.97) - "[T]he performances consistently benefit from an inspired level of interplay, something that's apparent right down to the album's delightful, blues-tinted coda, 'Everything That Has Breath.'"
Entertainment Weekly (5/8/92, p.58) - "...the music is astonishingly alive, robust, and brilliantly expressive; it ranks near the top of his accomplishments...This is one of those records you'd take to a desert island..." - Rating: A+Down Beat (6/92, p.42) - 4 Stars - Very Good - "...It may not be the greatest Getz on disc, but it's likely the last. And it's as much a statement about courage, and perseverance, and creativity defining a life, as it is a musical experience..."JazzTimes - "[A] superb listening experience....They needed each other, and jazz needs more such symbiotic relationships between writers and players."Village Voice (2/2/93, p.78) - "...The radiant tenor's last recordings are among his most provocative and moving, but the main reason these duets are instant classics is the uncanny level of dialogue between Getz and Barron, who at times makes the piano thunder with romance..."Jazziz (Dec.-Jan./92, p.94) - Picked by critic Leonard Feather as one of the 10 best jazz albums of 1992.
Spin (12/92, p.94) - Highly Recommended - "...If The Who had decided to go industrial, BROKEN is probably what it would have sounded like, based on the slamming energy that Nine Inch Nails exudes..."Q (12/92, p.130) - 3 Stars - Good - "...along with Ministry's recent PSALM 69, this can be considered some sort of landmark in the bleak wastes of industrial metal....the mastery of dynamics is never less than compelling. Cult status guaranteed..."Alternative Press (11/92, p.51) - "...the deranged and screaming guitar chords are so clear, precise, and real, that one can actually feel each individual string vibrating....a strong and welcome follow-up to an exciting debut..."Option (1-2/93, p.105) - "...displays the dynamics and fierce melodicism that made PRETTY HATE MACHINE so huge....[Reznor's] success has not made him a happy camper..."Musician (11/92, p.101) - "...Louder and busier [than PRETTY HATE MACHINE], BROKEN recasts techno-gloom as a grand symphony....Big noise rains down in sheets, with grinding guitars and mangled synths boosted beyond distortion levels...a swell funhouse ride..."Village Voice (3/2/93, p.5) - Ranked #3 on the EPs list of the Village Voice's 1992 Pazz & Jop Critics Poll.NME (Magazine) (10/10/92, p.39) - 7 - Good - "...an incredibly aggressive but still quite electric musical approach....BROKEN shows all the signs that Trent Reznor has shaken off the shackles of influences and found his own suitably idiosyncratic niche..."
"...The music may be perfectly awful -- actually it is both perfect and awful -- but its power, this movie suggest is nothing to laugh at. Or so you might realize, if you could only stop laughing long enough to form the thought..." New York Times "...The satire is so deadpan that you sometimes have to pinch yourself to realize how dead-on it is....The unmatchable Fred Willard tears it up..." USA Today "...A gift from comedy heaven..." Rolling Stone "...The gifted repertory company again creates an amusing gallery of incisively observed characters, riffing off each other with enjoyment levels that frequently prove contagious..." Variety "...[A] sublime, dizzying satire of American folk music....A movie that re-creates its object of satire with such pitch perfect flair that all but erases the line between derision and love..." Entertainment Weekly "...There is plenty of top-flight comedy in this brisk picture..."Premiere ...[With] the same blend of serious musicality and unabashed silliness that the trio injected into their metal tunes for THIS IS SPINAL TAP, gently ribbing their chosen musical form even as they pay it loving homage..." Box Office "...Few filmmakers today can show us our most ridiculous selves with as much merciless wit and tender mercy..." Los Angeles Times "...Hilarious..." Movieline's Hollywood Life "[T]he filmmakers have an obvious knowledge of and affection for the music, creating a rich game of reference-spotting for the folk cognoscenti." Sight and Sound "Affectionate, often very funny....[With] typically irresistible performances." Uncut