It's ultimately a solid enough album, but one that's difficult to love.

It’s not bad, sometimes it’s even very good, but it ought to feel much more significant than this.

The sensation of Winterval's astral travel may be a familiar one for fans of Willis, but that feeling of being propelled there by a fellow living being, rather than the tools at his disposal, means it's one that's easy to embrace.

This album, for all of its sharp musicianship and the ever-brilliant play-off between vocalists Greg Barnett and Tom May, just doesn't capture the gravity of its predecessor.

In reconstructing their music to match the grand scale of their ambition, they've mapped out a whole new territory to explore, and Tape Hiss indicates it's going to be a hell of a ride.

Too strident to be remotely ambient, and too thoroughly liquid to be pure post punk, Sleepless is the kind of album you simply fall for, in a way that you embrace something that sounds familiar but almost aggressively fresh and vibrant; and like seductive but unnerving classics by Pink Floyd, PiL, Roedelius, Riley or Eno, it wraps you in fur but never quite allows you to relax.

Jassbusters is the first release where Mockasin is accompanied by a band--and it’s a revelation. His usual exaggeratedly washy, reverby sound is anchored and evolves into something fuller, groovier, twangier. ... Jassbusters deserves a big fat red marker pen A.

Throughout Fabriclive 100, Kode9 and Burial piece together their choices with little care for linearity or the kind of journey-led approach many might expect from a mix CD. Ambient interludes--many of them carrying Burial’s signature sound palette--weave in and out throughout the mix, perhaps bridging the gaps between the respective artists’ selections.

Ceremony's misanthropy has never sounded more genuinely punk.

While With Love is an ambitious and entertainingly composed undertaking, offering glimpses into Zomby’s varied inspirations, it can still be frustratingly piecemeal and somewhat self-indulgent.

This new collaboration is a wonderful demonstration and crystallization of the best aspects of [Burger and Voigt's] combined canons.

With clicks, thumps and such acoustic subtleties, Vienna Blue unfolds like a rapid sequence of silver-screen freeze-frames: each too brief to comprehend fully, but collectively long enough to spark whole worlds of fantastic imaginations.

Despite the variety of genres and diversity of contributions, Thyrsis of Etna has a distinct sonic flavour. There is attention to balance. Each track has a cocoon-like sound that soothes and sedates a listener. ... Regardless of the names and history, the music has enough to keep one intrigued – or at least entertained.

Where 2008’s Rubbed Out and 2014’s Await Barbarians saw him reconfiguring Hot Chip’s understated synth-soul with impressive results, Beautiful Thing bears the outline of transition rather than bold progress.

A superb record--sharp and absolutely dangerous.

This is a smart record whose textures become more powerful with each successive play.

Schott's work here takes you to all sorts of places while all the while keeping your focus firmly hooked on the music, this beautiful music, at hand.

Whales And Leeches ultimately fails to capitalise upon or recapture the spirit of their previous releases.

Recorded on an eight-track in her flat, Colt steadily emerges as a feature-length celebration of what solitude can yield when approached with creative ablution in mind and the right amount of inspiration at one’s disposal. Woods sounds at home in her seclusion and strikes a chimeric midpoint between electronic and acoustic worlds.

While it may not be the most musically adventurous or frightening albums you'll hear this year, when it comes to writing memorable, mature songs full of devilishly addictive hooks without trying to relive the past, The Pale Emperor breathes new life into Marilyn Manson's previously ailing music career.

There’s a passionate, earnest vibe that spills out to fill any cracks in quality, a window into Lavelle’s soul that somehow opens wider whenever someone else takes the microphone.

On record, it's certainly a jolt, and not just a pile of drum-driven aural overload, but something does get lost in the process.

Like Untitled, Excerpts is slow-paced (for the most part), grainy and sombre, with crumbling synth textures clustered around skeletal rhythmic shuffles and most human interjections rendered opaque, like ghostly shades mewling in the dark.

I does follow a certain formula, but the band’s execution of it is inch perfect. All of Föllakzoid’s music swells and convulses with desert spectres and spirits, it’s music that occupies a world wherein the horizon can never fully be focused on, and all is far from how it seems.

Tthe album plays out like a mood swing of rage, despair, and an ennui that threatens to consume. It’s in that ebb and flow that Sightless Pit as a trio have found their balance. There is space for softness and melancholy. The organic is allowed to creep amongst the distorted or the electronic. Noise is only meant as a temporary shock to the system, not as a punishment to be endured.

He’s come up with ten numbers that linger plenty enough for earwormery to set in.

Bossalinis & Fooliyones is, at worst, an amiable enough diversion, at best it's very entertaining.

Ultra is, at first, quite hard to get your head around. There’s a lot to take in over its 50+ minutes, not so much in the With Love sense of sheer musical volume but more in the new ideas and stylistic left turns that find their home on the album. Leave it to sink in, though, and Ultra works fantastically as an album experience, with sequencing that sees the level of intensity wax and wane as emotions freeze and thaw.