"...Some of the year's finest electroacoustic sounds. ... [The User] extend Kraftwerk's mission by inhabiting mechanised conceptual space rather than mocking it from a distance." — The Wire, London 1999.12
"Le cri primal des imprimantes... Pour célébrer la révolution numérique, quoi de mieux que ce pied de nez à la course au progrès technologique?" — Libération, Paris 1999.09.24
"The grinding yet pure harmonies and funky line-feed percussion of these machines was unlike anything we have heard before." — Mute, London 1999.10
"Pendant près de trente minutes, les imprimantes vont sonner et swinguer comme de la «vraie» musique instrumentale, avec rythmes, graves, consonances aquatiques, respirations et envolées lyriques. Incroyable d'entendre comment une technologie dépassée, l'imprimante matricielle, détournée de sa fonction première, génère cette techno industrielle, lancinante et mélodieuse." — Libération, Paris 1999.05.28
"The piece hints at the commercial, inbuilt obsolescence principles which drive so much technological innovation and development. At the same time, it highlights the 'junkyard' ethos which drives so much technological music, which advances as much by the reappropriation and misuse of decrepit machinery as by the application of new tools. In turn, the machinery is reborn when it is put to service performing new and previously unimagined functions." — The Wire, London 1999.10
"O certo é que, seja qual for a perspectiva com que se ohle para esta obra pioneira, o resultado é música, com ritmos, harmonias e ambientes próprios de um escritório com vida." — SON sexta-feira, Lisbon 1999.10.15
"...una cigolante sinfonia di caroselli meccanici dalle curiose ed avvincenti tessiture ritmiche assimilabili a certe produzioni minimal techno." — Blow Up, Italy 1999.12
"Une oeuvre intrigante... qui pose des questions drôlement fondamentales." — Le Devoir, Montréal 1998.10.24
"A roaring chorus of carefully constructed mechanical chatter and grind." — Mirror, Montréal 1998.11.05