In 1988 the British artist and friend of Weizenbaum Brian Reffin Smith created and showed at the exhibition ' Salamandre ', in the Musée du Berry, Bourges, France, two art-oriented ELIZA-style programs written in BASIC, one called ' Critic ' and the other ' Artist ', running on two separate Amiga 1000 computers.

Brian Sarzynski, “ Thinking Outside the Vox ( Populi ): An Interview with Outspoken Media Critic Robert McChesney ,” mountainx. com, Vol.

Critic Brian Olewnick describes him as " one of the most fascinating collaborators in contemporary improvised music [...] tending to create subtly modulated sounds of an almost palliative nature ; often with an elastically liquid rhythmic sense.

Critic Stephen Thomas Erlewine describes Talking Heads as being " one of the most critically acclaimed bands of the ' 80s, while managing to earn several pop hits.

Critic Steve Huey describes their music as " uncompromising, intense, cathartic fusions of hard rock, funk, post-punk noise, and jazz experimentalism, with Rollins shouting angry, biting self-examinations and accusations over the grind.

Critic Eduardo Rivadavia describes them as " perhaps the ultimate stoner rock band "

Critic Ray Keenoy describes La liberté ou l ' amour!

Critic Ned Raggett describes Over the Edge as " the longest-running block of free-form radio in the history of radio ... essentially live performance art.

Critic Ron Wynn describes Parker as " mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish.

Critic Michael Azerrad describes Cain's drumming as " a brutal but brainy style that was positively electrifying.

Critic Jason Ankeny describes A. R.

Critic Jens F. Laurson describes Moravec's Pulitzer Prize-winning Tempest Fantasy as " remarkably accessible music.

Critic Mark Deming describes Santiago as an ideal guitar foil for Albini ; " his muscular guitar sound was the ideal match of Albini's jagged, metallic tone.

Critic Tony Rayns describes The Spirit of the Beehive as " a haunting mood piece that dispenses with plot and works its spells through intricate patterns of sound and image " and of El Sur it has been said that " Erice creates his film as a canvas, conjuring painterly images of slow dissolves and shafts of light that match Caravaggio in their power to animate a scene of stillness, or freeze one of mad movement.

Critic Alex Henderson describes the band's music as a " mildly avant-garde blend of jazz, rock and funk draws on a wide variety of influences ... Often quirky, eccentric and abstract, JFJO favors an inside / outside approach but is usually more inside than outside.

Critic Greg Prato describes their unusual instrumentation as " a haunting yet intriguing and original sound.

Something Leather concludes with a section entitled Critic Fuel-An Epilogue, in which Gray describes the circumstances surrounding the book's development and offers an extended ending.

Critic Billy Altman, whose work has appeared in many publications including Entertainment Weekly and The New York Times, wrote the following for Amazon. com: " One of rock's most overlooked masterpieces, this third album by the L. A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968.

Critic Steve Huey calls it " perhaps Tom Waits's most cohesive album ... a morbid, sinister nightmare, one that applied the quirks of his experimental ' 80s classics to stunningly evocative — and often harrowing — effect ... Waits ' most affecting and powerful recording, even if it isn't his most accessible.

Critic Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.

Critic Steve Huey of Allmusic later rated the album with four and a half stars out of five, stating that the " record sounds like a bridge between Mother Love Bone's theatrical ' 70s-rock updates and Pearl Jam's hard-rocking seriousness.

Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.

The album was produced by Tito Larriva of The Plugz and The Flesh Eaters frontman Chris D. Critic Stevo Olende has written that the " album's lyrical imagery is plundered from voodoo, ' 50's EC comics and the blues ," while another notes that " Nobody has heard music like this before or since.

Critic Stephen Thomas Erlewine of Allmusic speculated that the alternate persona and elaborate marketing scheme backfired, writing, " When Brooks ' new persona and his album were revealed to the public, they were unforgiving-they didn't think he was playing a role, they simply thought he'd lost his mind.

Critic Steve Huey called their album Morbid Florist " barely listenable ".

Critic Ed Naha, writing in Crawdaddy !, gave the album a negative review, saying, " Much of the Wonderlandish magic found on Eno ’ s first LP is lost on this rocky terrain, being replaced by a dull,

Sputnik Music and NME gave it 4. 5 stars to the album with Sputnik Music's Critic Tyler Fisher saying: " This is their most cohesive album, it expands on newer sounds and improves on others.

Critic Charles Shaar Murray wrote, " Bob Dylan has never seemed more perfect and more impressive than on this album.

Critic Stephen Thomas Erlewine described the hair metal – leaning album as " unbearable ".

Critic Robert Christgau called the album " A satire on, celebration of, and lament for the upper-middle classmates an Orange County liberal knows like he knows his neighbor's backyard ..."

Critic William Ruhlman agreed though did not consider the album as strong.

Critic William Ruhlman agreed, writing that the album " is a highly referential work from an artist who started where most end and has been earnestly seeking the right direction ever since.

Critic Adrian Denning, in his review of the album, compliments, " Both the vocals and guitar are utterly beautiful.

" Critic Andre Meyer of CBS News thought the material on the album was " stronger " than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the " jittery R & B vibe that made Destiny's Child so potent.

" Critic Robert Christgau graded the album as a B + though he felt that Beefheart's " much-bruited commercial bid turns out to have all the mass appeal of King of the Delta Blues Singers ".

Critic and Beefheart biographer Mike Barnes has offered that the album was " ponderous ... it really just lumbers along.

Showing the growing influence of Frank Zappa on the Monkees ' circle ( Zappa even has a cameo role as " The Critic " in the film itself ), the soundtrack album intersperses the six proper songs (" Porpoise Song ", " Circle Sky ", " Can You Dig It?

Critic Sarah Bee of Melody Maker, in a favorable review of the album Permanent Stains, wrote, " These men are in touch with their inner deviants.

Critic Ian D ' Giff of Newsday wrote that Showcase Showdown's cover version of the Sex Pistols ' song " Friggin ' in the Riggin '", from the album Never Mind the Sex Pistols ... Heres the Tribute, was " raging ", and it " nearly makes up for the album's shortcomings ".

Critic John Metzger of The Music Box praised the album, saying that " the group's songs combine the melodic pop of The Beatles with the heavy-handed thunder of The Who and the tight-knit harmonic luster of The Byrds ".

Critic Adam Roberts said of the novel: “ It is really quite hard to respond to this masterful book, except by engaging with its political content ; and yet we need to make the effort to see past the ideological to the formal and thematic if we are fully to appreciate the splendour of Heinlein's achievement here .”

Critic Roger Ebert wrote in the Chicago Sun-Times: " The film is a masterful achievement on all the technical levels -- it does an especially good job of convincing us with its Asian locations -- but the best moments are the human ones, the conversations, the exchanges of trust, the waiting around, the sudden fear, the quick bursts of violence, the desperation.