The result is a finely crafted collection of music that speaks volumes beyond its instrumental presentation. [No. 95, p.53]

These guys do so many things well--now if they could only find their weird again. [No. 95, p.52]

Alternatively gentle and jangly, The House At Sea is a delight. [No. 95, p.52]

On the band's latest, they continue the move toward the tighter concision found on 2009's King Of Jeans, but unlike Pissed Jeans' previous efforts, there isn't a seven-minute dirge on Honeys. [No. 95, p.51]

The Marriage Of True Minds is pure late-model Matmos: perverse, urbane, crowded, hilarious, and efficient. [No. 95, p.55]

The coarse sonic atmosphere remains, but in nearly every other respect, the evolution is substantial. [No.95, p.56]

After all these years, the band still possesses no originality or musical inventiveness that could distinguish it from the pack. [No. 93, p.58]

Mostly, the remix collection works in this vein, mutating the originals by further accentuating the brooding atmosphere and driving the beat harder. [No. 94, p.61]

An impressive mix of high and low art, Local Business is at once outsider, mainstream, universal and massive. [No. 94, p.61]

He's still evolving, and though the double CD Psychedelic Pill is far from nostalgic, he's spending a helluva lot of time looking back. [No. 94, p.61]

A ground-breaking debut, an original game-changer, a true, flawless, 24-carat triumph. [No. 94, p.60]

Essentially, it's the super-cool but super-classy Christmas record all hipsters hope they'll find under their tree this year. [No. 94, p.61]

Master producer J. Robbins deserves some credit for the band's audibly broadened horizons. [No. 94, p.60]

It's a clever set, no doubt, and ably built. But for the Soft moon's work to sound weightier, Vasquez may need to push his limits more aggressively. [No. 94, p.59]

GRRR! is a total cash grab. [No. 94, p.59]

There's an ever-so-slight improvement upon what has come to be expected of GBV and related releases of the last 10-12 years. [No. 94, p.58]

On the whole, this is the fuzz-popping, party-starting, pan-galactic prescription you forgot to remember you were waiting for. [No. 94, p.58]

Improbably enough, the resultant record could last you winterlong. [No. 94, p.58]

Much of Synthesized sounds like a rather bland concentrate of whatever musical style Holkenborg has chosen to upgrade. [No.94, p.56]

The whole record is all skittering drums never finding their place, and shivering synths that drift in search of a landing pad. [No. 94, p.58]

A set of soul instrumentals that wouldn't sound out of place on a late-'60s/early-'70s blaxploitation soundtrack. [No. 94, p.57]

It's an interesting experience and definitely an entertaining listen, even if you'll have no clue what you're listening to half the time. [No. 94, p.57]

The potential showed on Explore is evidence that GRMLN still has more to say. [No.94, p.55]

With LUX, Eno continues to show off the theatricality of subtlety. [No. 94, p.54]

Too often the tracks meander aimlessly, never building enough momentum to culminate into any kind of climax. [No. 94, p.54]

It's easily Emerald's least utilitarian album yet. [No. 94, p.53]

The arresting gorgeous title tune here destroys everything else, of course. But the rest have a loose, jammy feel that wouldn't have been tolerable in any phase of the DP's career other than the pop one. [No. 94, p.53]

It's a success throughout. [No. 94, p.53]