Rhythmically dense is the result. [Jul 2015, p.93]

Many of the songs segue into one another, a percussive keyboard outro blending into a slow keyboard intro, with Moses sounding like the soundtrack to sunrise--gorgeous. [Oct 2013, p.95]

Delivers some great tunes in tight, concentrated blasts, but sets them behind a gauze of distortion that gives the impression they are gradually fraying around the edges. [Apr 2004, p.102]

Fennesz excels when he squeezes something truly sublime and undeniably human through his gritty, labyrinthine microprocessors. [Jun 2004, p.112]

Ha Ha Sound reveals that the band still have a penchant for 3/4 time, still transcend their cinematic influences effortlessly, and Trish Keenan still conjures wondrous lyrical evocations of unspecific tenderness and yearning. [Aug 2003, p.98]

The Moon's musical and thematic diversity is glued together by Brooks' ability to instill even the most desolate musical climes with warmth and emotion.... One of the year's most oddly endearing records so far.

The Horrors are operating at a way more advanced level, dragging rock, feedback-drenched, electronic and electrifying, into a new decade. [Jun 2009, p.101]

Echoes of Aphex Twin, Nils Frahm, Arvo Part and Biosphere swirl around a deeply personal but sonically seductive piece of work. [Jan 2016, p.94]

The eight tracks on Rojus rise and fall like a club set. [Jul 2016, p.95]

The insistent, even patient, rhythms that propel most songs on Wolf Parade's fourth album are some measure of hope. They suggest there's someplace the synth-rock band is trying to get, and that there is some place worth reaching. [Nov 2017, p.96]

Wildcard marks a brilliant reassertion of Lambert's magnetic wit. [Dec 2019, p.89]

How Will I Live… feels like a portal to some esoteric beyond, where minimal jazz, obtuse indie and folk-horror collide. Ominous, calmly-executed highlights I Swallowed A Stone, Unbraiding and How It Starts are marvels of world-building. [Aug 2024, p.84]

Highlights a voracious creative appetite and their relationship's enduring strength. [Dec 2020, p.87]

This time nuance embellishments lend greater power and depth. [Oct 2015, p.90]

Lustman's been musing on the conflict between the intimate, solo nature of his music making and the shared listening experience of his audience on dancefloors. Lustman's solution is the intimate, expansive Heaven Is for Quitters. [Dec 2016, p.93]

Here, Saunders marks out her own terrain, seeing how far she can go forward, and how far back. [Apr 2018, p.91]

Bursting with invention, energy and occasionally cheesy synths.[May 2018, p.95]

Predictably, there's a big hello-hurray for bold re-imaginings of The Jam's Private Hell and Boy About Town, but it's the big-orch performance of his solo jazz-psych-folk highlights that transport and intrigue. [Apr 2019, p.86]

The Raconteurs offers a much more straightforward and enjoyable 42 minutes [than Boarding House Reach]. [Jul 2019, p.84]

It's a compliment that guest spots by simpatico icons Iggy Pop and Kool Keith are by no means the best things here. [Dec 2019, p.86]

Make Me Feel Alright is a joyous call and response; Souled Out On You a heartbreaker with deep feeling; Country Child, meanwhile, is pure Hill Country hypnotic boogie. [Jun 2021, p.89]

Their enthusiasm for the project is palpable and if their joyful noise turns just one listener onto the original, it's job done. [Sep 2021, p.82]

Music that is dizzying beautiful, but never precious. [Oct 2021, p.88]

Subtitled "Ghana Music Power House", a fitting epitaph for Dick Essilfie-Bondize. ... Highlight: the blissful whirl Yeaba by CK Mann's Carousel. [Feb 2022, p.103]

A yin-yang parity asserts itself with the wistful, jazzy, Rose-sung Simple Days, electro-pop You Saw and epic, wicca-ish Druantia. Elsewhere, there’s arty chamber pop, demented swing-jazz and the epic Surf’s Up-echoing closer Sunrise: middle-aged bliss has rarely sounded so weirdly magical. [Nov 2024, p.91]

Breathless, and breathtaking. [Jul 2025, p.86]

It'll leave you hoping De La never stop. [Feb 2026, p.80]

Lyrics tend toward the brutal, but there's tenderness too. [Mar 2020, p.92]