With its crashing together of narcotic pop, serialism and motorik rock, Find Me Finding You is in a similar mould to Sadier’s compatriot Pierre Henry’s concrète pop nugget Psyche Rock. Or, closer to home, Stereolab. [Apr 2017, p.55]

The album deftly balances expansive environments with a singular vocal intimacy. [Nov 2018, p.51]

There’s so much going on in these dense constructions, you’re likely to hear new layers and combinations with each spin. [Oct 2022, p.46]

If Lightning Bolt works best live, Wonderful Rainbow loses nothing of the duo's spontaneous wallop. [#230, p.56]

The pairing of contemporary classical with electronic music is a concept that could easily--and often does--go wrong. At times Shelley’s On Zenn-La feels like it’s about to do just that, but this very awareness of historical context makes it a worthy tribute to its hallowed predecessors. [Oct 2018, p.51]

What a blessed relief, given all this, that Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, collectively, still sound wholly and unapologetically like themselves. [Nov 2025, p.60]

The album is strong in the style, but offers no real surprises, with the familiar mixture of clacking Tuareg rhythm and scorched Sahelian riffing best illustrated here by the fiercely motorik “War Toyed”. [Apr 2017, p.63]

Lala Belu is his first new recording for decades, and it lives up to the expectation generated by their live appearances. [Apr 2018, p.67]

There's less sense of puzzle and struggle than we're used to with Aphex Twin... but Chosen Lords is certainly meticulous and absorbing. [#266, p.51]

Music For Writers is lovely to review, both because it does exactly what its title suggests aiding concentration and contemplation for writers, and reviewers while standing up to a degree of scrutiny. [Nov 2025, p.53]

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

Her own voice breaks sometimes, and it’s in these moments – when she seems to drop the mask – that the album lands its most impactful blows. Tracks like “Cosmic Joke” and “Anthem Of Me” bring more dense, pressurised operatics. [May 2025, p.51]

I dig a conceptual framework but to be honest my enjoyment of Rooting For Love has little to do with earthbound concerns and everything to do with sheer escapist pleasure in form and grain. [Mar 2024, p.52]

Each track is a mini drama of yearning and patience. These are studies in building momentum, meditations on how to temporarily tap into a shared singular spirit. [Jul 2024, p.50]

The Beach Boys and Merseybeat stylings are still present, only without a single note wasted; every gesture, shaker, blurp of synth, bubble of spring reverb feels deliberate and functional. The songwriting benefits from this directness, striking an effective balance between chipper pop hooks and more introspective, often sombre lyricism. [Apr 2025, p.56]

Granted, Flow's torrent of words is Thirlwell's familiar angsty blurt of near operatic proportions, but closer attention reveals his skill as an arranger, producer and rhythm sampler is now verging on the monumental. [#208, p.57]

[A] finely crafted and very songwriterly affair (with echoes of Talk Talk, The Auteurs and Roy Harper). [Jan 2017, p.74]

It’s a bold, defining album from the UK techno producer that will undoubtedly fulfill her wish to flip people’s perceptions. [Jul 2017, p.52]

For all its kinkiness Green Twins is indubitably an R&B record (tracks like “Cuffed” and “JP” really can’t be described as anything else) and an exceptional one at that. [Jul 2017, p.52]

This is von Hausswolff’s most open, personal and ultimately affirmative recording to date. [Mar 2018, p.48]

Hoffmeier’s fourth solo album The Drought sees her graduating from the Copenhagen based label Posh Isolation to PAN to deliver her strongest statement yet. [Nov 2018, p.62]

It blends jazz, funk, dub and electronic sounds into a seamless, at times psychedelic whole. [Nov 2019, p.66]

Denzel’s flows are as hungry as ever, at times managing to channel the untamed spirit of DMX (see “Diet”) while Kenny’s production is the ideal mix of weighty drums and potent bass. It’s an energetic listen and one that can hopefully act as some sort of cure for Old Heads Syndrome – the belief that no one is making real hiphop anymore. [Apr 2020, p.68]

Book is likewise packed with songs that take a few listens to click. Flansburgh remains an acute observer of humanity’s pettiest manipulations as well as a shit hot guitarist; Linnell still has one of the most weirdly soulful voices in rock and a feel for poignant absurdity. [Jan 2022, p.72]

He remains a fascinating and fearless artist. But one can’t help but miss the outre experiments of Terror Management, where he bombed away over noise rock flurries and sepulchral beat loops alike. [May 2022, p.54]

There’s a mite more polish on Reason To Smile than some might favour. But there’s also a rich seam of dark humour and rage worthy of Kendrick Lamar or Silent Eclipse. [Jun 2022, p.62]

Pink Dolphins kicks off with four relatively short tracks (between three and eight minutes – I did say relatively) that demonstrate the evolution of an Anteloper sound. [Jul 2022, p.42]

Big | Brave roars into action with the immense “Carriers, Farriers And Knaves” and proceeds through five subsequent tracks whose heaviness is substantially derived from a keen sense of texture – abetted and encouraged by producer Seth Manchester – and the anguished wail of guitarist/vocalist Robin Wattie. [Apr 2023, p.64]