"Whether your godless world is ruled by chopped Magda/Hawtin productions or Digitalism remixes of Kaiser Bloc tracks, you’ll be lucky to hear anything more era-defining than this in 2006. Trentmoller’s full-length debut is a twenty-two-track feast that sums everything that is great about these two tendencies of contemporary electronic dance music. Taken as a whole, the mood might be slightly dark, but it is always exhilarating, never depressing. The Sturm Und Drang-like cover art might show where Trentemoller likes to think he is coming from (German electronic Romanticism), but what’s inside shows what he is aiming for (international dance floors AND bedrooms, bodies AND souls). On that level, it is an utter success. Add the fact that is it an album’s album, i.e. it doesn’t feel like a single’s compilation, and you get one of the year's – and, let’s be frank here, Poker Flat’s, very first – dance music landmarks. All hail the real min2MAX king. No either nor or.” – Stéphane Girard

"My My have talent. In the best of their songs, every chime, every bleep, every tick and every thump can be directly expressed through movement. I’m not sure if someone who has never lost themselves on the dancefloor and experienced that abandon could ever see that in this music, but it’s there in its every fibre. This album and this artist exemplify to me why I love dance music and I urge anyone who feels the same to buy this record, though those who already follow My My will need no encouragement. Listen and remember that it’s not about hardware, software, vinyl, mp3s, UK, Germany, USA, minimalism or maximalism. It’s about dancing.” – Jacob Wright

"To these ears, now is exactly the moment for this release, the near perfect broken marriage of hardwired poptronics and floppy-boy tears. It’s a work that says goodbye, not by wearing its heart on its sleeve so much as routing heartbreak right through its midi. Whatever else these works sound like moment to moment, it’s the strength of the songwriting and the beautiful, desolate space this creates for the synthesizers to sing that makes this album truly outstanding. Standouts like ‘First Time’ and ‘So this is Goodbye’ (so good I have to be careful not to listen to it for fear of tears in public) prove that the sound of the human voice with a beautifully chosen synth tone is silicon sighs incarnate. This is music that understands that human beings are the softest synths of all.” – Peter Chambers

"Bjork on drugs with DK7 arranging instrumentals on a ghostly Roland 909? Karin from the Knife has been quoted as saying a silent shout is like when you dream and really want to scream, but nothing comes out, and this is an album that definitely screams loneliness and obscure inner visions. Complicated, beautiful and mystifying in turn, this third album from the brother sister duo broke The Knife around the world, perhaps surprisingly, since the textures here are so uneasy and ice cold. But what ‘Silent Shout’ lacks in depth and variation, it makes up for in raw emotion: the songwriting and clever production might shine here, but ultimately what is most effective is the emotion Karin brings to her distorted, jaded and ghostly vocals.”
– Mohson Iqbal

"What is most compelling about ‘Movements’ is the one-two punch that almost all Booka Shade tracks deliver: melody and basslines. If Booka Shade know anything, it’s how to craft tunes filled with more hooks than a fishing kit. And if the hooks don’t catch you, the basslines will. A slightly reworked ‘Mandarine Girl’ and the single ‘In White Rooms’ testify to Booka Shade’s way with melody and bass: if a DJ can’t get a crowd moving with these tracks, their decks and records should be revoked. ‘Movements’ is a great home listen yet loaded with tracks that are begging to be played out. To have achieved both ends is an incredible feat, and in doing so Booka Shade have not only released one of the best albums of 2006, they may very well have crafted a classic.” – Cameron Eeles