The result is surprisingly seamless and the producer rarely puts a foot wrong. [Nov 2008, p.79]

Mr Mitch’s productions are as fastpaced, tight and spirited as his DJ sets. He makes the most of these sparse landscapes, marking a path for a complex of emotions to bleed though. Part of the album’s charm is that Mitch doesn’t shy away from adopting a pop sensibility nor embracing love as his subject matter. [May 2017, p.51]

It's clear... that the quartet... are growing in confidence and ideas. [#256, p.54]

Most of the 18 cuts clock under two minutes, long enough to showcase just how fresh and creative Raczynski still is, yet short enough to feel as concentrated jolts of energy. [Jan/Feb 2025, p.88]

Cabral’s vocals, typically hushed, make Mazy Fly feel like a shared secret, its own world, and it’s thrilling to enter. [Apr 2019, p.62]

These collaborations have been performed live over the past few years and for all its pristine yet textured presentation Gensho succeeds in capturing the dynamics of those live actions. [Apr 2016, p.46]

Unlike a lot of electronica, the music never lapses into mere tastefulness. [#235, p.75]

$ilkMoney's new album might well be his best to date. [Oct 2025, p.65]

You might not always know what they are saying but the wails in “Iron Maiden” and foreboding synths of “(Crystal Aura Redux)” don’t need translating. The bleak production and relentless beats should keep us dancing all the way through the apocalypse. [Jun 2023, p.54]

Double Figure is as good as anything they have done. [#207, p.65]

At the heart of Rain On Lens, [Callahan] comes clean for the first time: Smog is subjective, not omnipotent. Hardly a psyche stripped bare, but at least it's a start. [#211, p.65]

This album is his confident and impressive soundtrack debut. [Apr 2016, p.48]

The record is a meditation on masculinity, both lyrically and musically. But it is a sombre, barely lustful masculinity that growls and shrieks and howls and tells stories here. [May 2017, p.52]

Not every release in the heaving Boris discography is essential; this one most definitely is. [Oct 2022, p.52]

A necessary record, and a thoroughly compelling one. [Jul 2023, p.51]

To Those of Earth & Other Worlds miss some of the cosmic darkness of Sun Ra. Instead it's a fulsome celebration of the most joyous heights of his work. [Nov 2015, p.66]

Those expecting further dubwize excursions from this duo may be disappointed by their venture into the lounge rather than the yard. Unfair, really, as Thievery Corporation have embodied eclecticism from their beginnings, and the bass booms as sweetly as on any of their previous efforts. [#200, p.83]

The result is a project dripping with atmospheric sound and real emotional weight. [May 2023, p.64]

Music for Shut-Ins is valuable for the manner in which it acknowledges the true masters while still allowing room for non-canonical influences, expanding rather than replacing or limiting possibilities. [Jan 2014, p.64]

The song structures have clearly absorbed a fair amount from EDM, but the formula of walloping percussion and synthesizers purloined from Depeche Mode's and New Order's darker moments, juxtaposed with lyrics that have the rung of obscure slogans, remains in place. [Mar 2014, p.58]

This is classic David Grubbs--which is to say a joy, but also that it's unbashedly disparate. [Apr 2013, p.50]

The themes may change, but draped around catchy and crisp melodic motifs, the textures remain as gorgeous as ever. [Jan/Feb 2025, p.95]

There is an alchemy at work here. [Apr 2016, p.57]

[“Vapours”] is brilliantly executed and, in places, genuinely frightening. Yawning drones and hissing percussive swells open the gates to chaos in “Of Shadow And Substance”, an epic 21 minute churn of layered tape loops, cello and bass strings, harp and percussion. .... The piece is more haunted and atmospherically dense than its predecessor, however both pieces share a remarkable sense of immediacy.

The music here is beautiful and involving enough to stand up just fine by itself. [Mar 2014, p.59]

In spite of these brief missteps, Change is a welcome return, revealing the multifaceted artistry of a previously enigmatic performer. [Sep 2021, p.48]

None of the pieces seems to reach a destination, and are all the more poignant for that. [Sep 2018, p.58]

It's like being in a church of flesh, a satin abattoir, an immersive video game of obsessive love--sickly, addictive, raw. [Aug 2012, p.46]