“Somewhere between *Hit Man Dreams* (1997) and *Fire in the City of Automatons* (1999), No Knife became boring. It was a subtle, insidious change that could have been the result of Greg Wales taking on production duties, or Chris Prescott's increasingly subdued drum work, but it might have been something far more sinister: a quest for accessibility. The more polished No Knife are easier to listen t”
