Age Of is arguably Lopatin’s best album to date. He achieves exactly what he sets out to. [Jul 2018, p.55]

For whatever accessibility that might be lost in the decision to eschew English lyrics is balanced by a fresh emotional immediacy. Arrangements are sparse and pristine, each sound serving a purpose. ... An album that witnesses Deerhoof at their most vulnerable and volatile. [Apr 2023, p.52]

We Are King is a lush, dynamic, and expertly crafted album that constructs a unique soundworld. [May 2016, p.50]

If the album feels a little like it’s beginning to run out of ideas by the end of its 45 minutes, the audacity of its central aesthetic propels it to some dizzying heights along the way. [Oct 2018, p.62]

It's probably the most conceptually interesting record Squeeze have ever put out and also one of their most consistent and adventurous latterday works. [Apr 2026, p.60]

The result is a genuinely experimental record, with more than a dash of cheerful craziness. .... The intonation may not be classically perfect, but this is the timbre he wants, and the saxophone can party over a gleeful Latin beat. [Mar 2026, p.68]

Something In The Room She Moves feels impossible to completely pin down. [May 2024, p.52]

Their current incarnation has an almost puppyish energy and optimism which makes the album's 34-minutes seem even shorter and more repeatable. [Sep 2015, p.54]

It carries with it the expressivity of darker electronic take on popular forms, and exchanges the cliches of this UK habit for new and complex alien intimacies. [Oct 2015, p.49]

It's the generous flow of rapt, wistful melody that makes Severant such an appealing prospect. [Nov 2011, p.72]

Distorted and wobbly piano samples summon up the spirit of 1990s rave, but in a quietly euphoric way. Harmonies occasionally jut out, seemingly more a product of chance than by design. [Oct 2017, p.49]

The music is a fluid mix of acoustic instruments and studio slickness, all recorded under lockdown conditions but mixed seamlessly, and while the lyrics are earnest, the songs are joyous, not sombre. [Jul 2021, p.60]

The result is a dreamy potion of cascading stringwork and ethereal song, a soothing, otherworldly balm, grounded in ancient tradition but partly inspired by modern tragedy, as the album title suggests. [Mar 2026, p.53]

With each successive listen, more detail – in the organ arrangements, the vocal compositions and their harmonic interplay – is revealed. [Aug 2021, p.72]

At over 22 minutes, it’s ["The Offender"] one of two side-long pieces and could just as easily have gone on for an hour, or all night. ... The short pieces are just as good as the long ones. [Nov 2021, p.52]

With Primrose Green, Walker is in a larger collective setting and it works in his favour. A mixed bag of Chicago musicians concoct a pleasant, hazy feel to the proceedings. [Mar 2015, p.54]

Danger Mouse constructs decorative, melodic beats that don’t really bang, resulting in a hazy, slightly funky and psychedelic quality reminiscent of late 1960s pop. ... It’s frustrating to see him [Black Thought] shut off that aspect of his creativity in favour of “bars as hard as Angola’s”. ... Cheat Codes is compelling enough, but one wonders where it’s all going. [Sep 2022, p.42]

It’s heavyweight stuff delivered with a beautiful lightness of touch. [Nov 2022, p.73]

His drumming combines an organic sense of living pulse, but preserves a precision and sparseness that pulls it back to the rock-tick of motorik. [Apr 2015, p.63]

While lightness and a wondrous sense of possibility colour the album, there’s also depth. Every track is made of layers of glimmering melodies that collide in dissonance and fade away in consonance. [Aug 2022, p.58]

America’s National Parks is as consistent musically as it is conceptually diverse. What appear on first listen to be reserved essays on grand topics are steadily revealed to be eloquent statements of a mature and unified vision, realised with collective mastery. [Dec 2016, p.64]

It’s wild, almost bacchanalian, Ambarchi leading everyone to shared euphoric experience with his guitar--then it’s over, and everything dissolves rapidly into a dazed silence [Nov 2016, p.57]

There's a lingering sense of calculation to their weirdness, the feeling that this is someone's specific idea of what next-level hiphop is supposed to sound like and not the type of batshit creativity bursts that can lead to truly transcendent experimental hiphop.

Bowles still makes his most emotionally compelling statements with his banjo. [Sep 2016, p.46]

For this album to be worthwhile, Hampson has to do more than revisit his old, gold moments. At the same time, this incarnation of Loop functions partly as a reassessment of what made the sound they landed on so glorious in the first place. Both notions can coexist, and for the most part they do, with loud, laudable abandon. [Mar 2022, p.48]

On XXX his own aesthetic seems fully formed. [Oct 2011, p.65]

If Boy falters, it's toward the end, where out of three softer focused tracks, only "Danceland" charms its way into the memory. [Mar 2014, p.53]

There Is A Place flirts with pastiche, but it’s hard not to be swept along by its uplifting grooves. [Dec 2018, p.52]