Comparisons to Moodymann, Dilla and Theo Parrish have been forthcoming, but Davis Jr's vista spreads wider.

Tracks regularly clock in at eight, nine and 10 minutes, yet Blondes never outstay their welcome.

This album trades in bleakness, but there’s beauty in it.

[An] ambitious, oddball, lush, relentlessly sexy electro-funk and twisted disco record.

It’s intense, ambitious and, in places, uneasy listening, but at the core of Overgrown lies unalloyed beauty.

With production help from Four Tet and Adrian Sherwood, he raps tenaciously over dark beats.

A charming, optimistic LP, delivered with a smile.

Opener ‘Miami Theme’ sets the tone, Erika Janunger’s voice floating over brooding piano chords, like a Lynchian club scene.

With only a couple of uninspiring tracks, this is an ambitious game-changer that’ll leave you with a renewed optimism about the future of music.

Fusing sonic intricacies, captivating melodies and compelling storytelling, Dirty Projectors’ eighth LP is their most honest and affecting yet.

The whole album drips with a palpable sense of lust and intensity.

There are no beats, just dynamic peaks and troughs, and the hugely textural and evocative results are unsettling yet absorbing.

The whole album drips with Caribbean zest, the tropical bounce of 'Can't Get Enough Of Myself' and the pumping 'Rendezvous Girl' balanced by eccentric slowies such as the oddball power ballad 'Run The Races'. There's plenty more too, candied but with class and pop bite.

Set them around rhythmically experimental dance tracks (‘An English House’, ‘Community’) and you have intelligent evolution.

The middle section may lean a little too heavily on balladry, but if you're looking for 2012's most sophisticated pop star, you may just have found her.

Mayer has always had an ability to weave the richest dancefloor cheese into forms both experimental and emotional, and here he’s chosen exactly the right people to amplify different sides of his music.

Seaton, as Call Super, invokes Peel’s memory on Fabric 92--if not in sound, then in the personal nature and spirit that percolates throughout.

It’s not perfect--a couple of tracks slightly overdo the asthmatic-sounding compression--but mainly it’s a really impressively consistent and well-structured listen, and definitely worth the wait.

Sometimes the constant shifts can leave you reeling and wondering what Jlin is trying to get at, but it’s never long before they pick you up again and pull you back into it. This is the sound of a huge talent blossoming.

The effect is one of hypnosis and seduction, a type of black magic boogie that acts as the perfect catalyst for moments of intense intimacy.

A welcome 40-minute excursion indeed.

Mastered by Berlin’s leading engineer Tobias Freud, the craftsmanship is simply untouchable, but the absence of any absolute stormers creates a slight shortfall.

If you’re a fan, you won’t be disappointed. ... If you’re new to the zoo, prepare for a 20-track musical trip you won’t forget in a hurry.

Effectively present(ish), past and downtempo, it’s a fascinating glimpse into one of dance’s most fertile minds.

Translating to ‘skin’ in English, its urgent, high-pitched signal follows the melancholy first-take of the artist’s vocal, who’s sung before but never with such vulnerability. It marks the start of a soaring new direction.

A comforting throb fills the album, an electronic heartbeat that soundtracks the swirling, arpeggiated ambience of Hippies, or the trippy acid-techno of 'Stop' with its spitting hi-hats and skirls of cathedral organ.

You may find it tough to get past the religiosity, but if you can, there’s real magic here.

Occasionally it's awkward, but for the most part it shows there's still plenty of life in the old Head yet. [Apr 2018, p.91]