It's his sharp, searching lyrics that elevates 3.15.20 to giddying heights. [Jun 2020, p.106]

Konnichiwa is not just hit-packed, but almost flawless. [#361, p.115]

But for a little judicious editing, it's a pleasure we could have shared with him. [Oct 2012, p.99]

Intriguing abandoned avenues and sketches towards masterpieces. [Nov 2018, p.115]

A concentrated shot of charisma, undiluted and intoxicating. [May 2012, p.92]

One to watch. [Jan 2006, p.128]

Anyone who's ever loved a record by Midlake or the Fleet Foxes should investigate immediately. [#361, p.117]

Flabbergasting... a genuine revolution in the head. [Dec 2006, p.133]

Ellison's reliably single-minded approach will appease seasoned Flying Lotus followers, but Until The Quiet Comes might just attract new followers. [Nov 2012, p.95]

Amygdala is the sort of wonderfully slowed-down and spun-out electronica that suggests DJ Koze should get himself into the studio more often. [May 2013, p.104]

This third effort sees the band step into darker territory, blending detuned guitars and Sonic Youth-esque dissonance with infectious pop-punk hooks. [Mar 2012, p. 100]

It's seamless, silly, but seriously good stuff. [Jun 2016, p.113]

From the off, it's beguiling stuff. [#361, p.108]

Saturn isn't afraid to show her playful side. [Dec 2018, p.105]

Gargoyle takes the electronic bedrock of its 2014 predecessor Phantom Radio and kicks it up a notch. [Jun 2017, p.109]

The whole album flows like a rainbow-hued river animated by the spirit of generosity and wonder. [Aug 2016, p.116]

Idlewild have added a new "dirty bomb" to their armoury: the emotional resonance of prime Morrissey/Marr. [Aug 2002, p.128]

Seductive, breathy and forlorn, [Trebeljahr] sounds like a more ethereal Sarah Cracknell. Oh, and the songs are top drawer, too. [May 2004, p.104]

Mixed by Philippe Zdar of Cassius fame, the whole record feels bright, poppy and fresh. [Jun 2011, p.105]

Drew's work is lyrically dense and confrontational, but the music is blissfully rich and specious. [Sep 2012, p.100]

[Noody's Fault But Mine is] A career-high in an album of highs. [Jul 2018, p.111]

The sound is raw, yet dense and intense, each track a microdrama of shifting textures and competing motifs. [May 2015, p.113]

His world-weary vocals are leavened by his winning way with clinging melody and an overpowering sense of impish, but committed adventure. [Apr 2016, p.108]

Lennon would be proud. [Oct 2009, p.114]

This is a record of fiery energy, spinning into sight like a chunk of chrome off a satellite, fierce, funny and beautifully unpredictable. [Jul 2018, p.116]

There are meandering moments on Skying--closer Oceans Burning's day-trip into prog palls after a while--but it continues The Horrors' fast-forward evolution from their dark larval form into lepidopterist's delight. [Aug 2011, p.110]

Things perk up on the lovely Where There Are Pixels and the choired-up I Must be Jesus but it's one for the fierce-hearted and, as such, highly recommended. [Dec 2012, p.111]

A dazzling alloy of vintage progressive jazz and synthetic digital funk fired by unashamedly cosmic aspiration. [Aug 2013, p.106]