It sounds vast and brutal. An early salvo of sub three minute crunchers peak with the juddering, wounded "To Feel Something", and the galloping metal number "Make Me Forget You" is the highlight of a longer closing trio. [Mar 2026, p.60]

Progress really doesn’t come into it. Rather, each track here, particularly the bumpin’ highlights “Cosoco” and “Cara De Espojo”, can be seen simultaneously as both a refinement and amplification of everything that has made Molina’s music such a rare delight over the past decade. [Jun 2017, p.67]

The framework is so decentered there's barely a frame. That, it turns out, leaves room for the work. [Dec 2011, p.52]

Peeled back from its surrounding hype, The Sciences is a sturdy (albeit somewhat stationary) return to form. [Aug 2018, p.59]

A curious lack of urgency pervades. [Jun 2021, p.66]

A return to form. ... If anything this album is neither nervous nor holding its nerve, but powerful, solid, the work of a group who know what it is they do and how best to play to their strengths. [Apr 2018, p.64]

Lamentations is a gently devastating and cathartic listening experience. [Nov 20, p.54]

Limbs feels more emotionally erratic than its predecessor, and even more compelling for it, teetering between interiority and connection. [Apr 2022, p.45]

Just as Double Negative offered a catharsis of the confusion and despair that many felt in 2018, as a whole HEY WHAT promises hurt and healing in equal measure, its abrasive textures the companion to undeniable warmth, tenderness and optimism. [Sep 2021, p.57]

The eight tracks and 40 minutes here feel far more porous and open than a lot of contemporary electronic music allows itself to be--edited together by Hassell from various performances, its erratic, switch-backing progress sketches large structures but leaves them light and airy, rich and heady without crowding the mix. It demands to be played on a big system, to enter the air. [Jul 2018, p.50]

Confident and resourceful, All Time Present feels more open than its predecessor. [May 2019, p.54

What J Hus has over all else this year is an ebullient ironic pseudo-oblivious pomp, the kind of breathless mongrel music you’ll only ever get from folk young enough to miss how vital it is they’re breaking all the rules. [Jul 2017, p.62]

This recently unearth gem from Delmore is a fascinating insight into the creative mind of one of the brightest lights of the Greenwich Village breadbasket circuit, Karen Dalton. [Feb 2012, p.63]

A poised and playful opus of 11 tracks dominated byt the sound of maxed-out 1980s 8-bit videogame soundtracks zapped 300 years into the future. [Mar 2016, p.47]

A conventional song based offering, but essentially a continuation of the dialogue between Gunn/guitar and luscious underscoring this time more orchestral than electronic. The mood is generally soothing, but shot through with occasional suggestions of disquiet. [Nov 2025, p.53]

With Discombobulated, Hen Ogledd have grown to fully inhabit their costumes, Sun Ra Arkestra style, with the greatest musical and lyrical realisation yet of their diverse strengths. [Mar 2026, p.49]

Where Spectrum was full of empty (head) space, All Things Being Equal is flooded with warm, luxuriant modular texture, across its bandwidth. [Jun 2020, p.56]

A feeling of survival against the odds often permeates his music. Personally I would have enjoyed a few more drum-backed beats, but even those without are crafted to a point of excellence. [Dec 2021, p.63]

Throughout the album there’s a palpable refusal to push forward a frontperson – the vocals are truly shared, so Coriky merge and blend around each other and it’s this intuitively generated mutual conciseness that’s so gorgeous to hear. [Aug 2020, p.53]

What’s striking about this album, produced by Kenny Beats, is how all of its fear and anxiety are turned inwards. Sure, there’s storytelling, such as “Lakewood Mall”, in which Tyson narrates an instance where Staples evaded violence to end on homespun wisdom and a call to free Pac Slimm. But the psychic stress here is all-encompassing, preceding the threat and resulting in claustrophobia. [Sep 2021, p.64]

Pussycat is as excoriating and pitiless as anything Jenny Hval has produced to date and just as unflinching in its analysis of gender politics (the Wire-ish “Sex Machine” manages to be funny, poignant and upsetting) plus Hatfield cranks out some cathartic Ragged Glory solos (which could easily go on for twice as long as they do) and proves herself a fearlessly uninhibited vocal stylist to boot. Good work. [Aug 2017, p.61]

A confidently created body of work that shows her strength in piecing together abstract compositions. [Oct 2017, p.65]

A few guest vocalists pop up in vivid cameos. .... But the guests are mere added attractions. Some of the most compelling tracks, like "No Death No Danger", "Mala Sangre" and the closing "Covenstead Blues", are all her. .... She creates her own world of sound, and her own context, and we must enter cautiously, never sure what we'll find but ready for anything. [Sep 2025, p.50]

Anyone interested in just how far out and far in British music can be i 2017 should have Stillness spot-welded into their systems right now. [Mar 2017, p.50]

“Pensées Magiques” has little spoken word, yet it somehow perfectly conveys a sense of nightfall across the landscape, as if you and Atkinson are quietly absorbing it together. [Nov 2024, p.48]

While the Bowie tribute will probably garner most attention--hey, at least it saves Basinski having to explain the story behind Disintegration Loops again--for me, “A Shadow In Time” is the more absorbing work. [Feb 2017, p.44]

The album becomes more experimental and confident as it progresses. [#236, p.59]

When you listen to Made Out Of Sound, you feel encouraged to immerse yourself in every note, cherishing the beauty of this otherworldly space. [Apr 2021]