He has the knack of E-40, of Slick Rick, of George Clinton, for whipping up ugly shit with infantile rhyme to make it taste like candyfloss. On “Outside!”, he turns “Who want to die” into a sprightly singalong. The cheer proves to be a cover for both an experimental edge more disruptive than that of Some Rap Songs and a hefty impact when Vince does finally start to crumble. [Feb 2019, p.56]

For their fifth album The Witness, Montreal group Suuns pick their way through new songs that on the surface sound sparse but are actually thickets of sonic invention. [Sep 2021, p.62]

This is Ambarchi at his most user-friendly, waxing nostalgic for a music that never was. [Aug 2019, p.50]

This set represents a powerful statement on multiculturalism without any need for proselytising. [Jun 2017, p.74]

Sum's bigger than the parts, though, and Double Demon delivers a whack of sound and a level of detail far in excess of anything on earlier ESO and Sound Is Delmarks. [Aug 2011, p.70]

This collaboration feels like his most companionable, as he flexes and grouses through many moods, always in the service of the song. [Mar 2015, p.47]

An unusual and unexpected triumph. [Jun 2011, p.44]

The songs are politically sharp and socially conscious, and Vieux sends out darkly nutating tendrils of blue over rolling, ravelling backing. [Jun 2022, p.61]

If there’s a criticism, the album is a bit samey: virtuoso drum intro, declamatory trumpet, modest group support. The formula becomes ever more predictable with each return, but Allen and Masekela are irresistibly listenable almost irrespective of what they are playing and Rejoice is a very special opportunity to hear two masters who’ve orbited at a distance coming together. [Apr 2020, p.48]

The production is so delicate and the arrangements so well crafted that you can't help being utterly seduced by this open-ended, non-narrative yet elegant and accessible pop music. [#227, p.71]

It's doubtful that the official soundtrack for Dredd will be anything as satisfying as this atmospheric homage to the mean streets of the future. [May 2012, p.56]

Their second album Vesper Sparrow explores the arrhythmic and atonal multilayered textures that underpin Ellis's soaring contemporary jazz saxophone. .... The closing "Evensong Part 4" is a celebration of disconnected, cycling, melodic instrumental chants, layered into a richly joyous texture, with a Sowetan jazz feel.

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]

Almond just made one of his best records, completely out of the blue. [Mar 2015, p.49]

Gat is a gnarly and thoroughly exciting guitarist, and somehow Universalists is aberrantly gorgeous and totally fried. [Aug 2018, p.68]

Consistently excellent, the album reaches its zenith with “My Shadow Life”, a simple love song from out of the gloom: “On my life I swear that I love you/My shadow life, I swear that I love/I love you”. [Sep 2018, p.55]

The large number of guest rappers (seven in all) makes the album sound like the voice of a rage-filled community rather than just one person’s desperate cries, magnifying its impact. [Feb 2023, p.44]

Andrew WK's lucid, luminous production delivers a sequence of music that seems to hover between states. This is a musical achievement. [Jun 2011, p.46]

This music never lacks for deep roots into Allen's background with Fela's Afrika 70, but it is also fresh in conception and execution. [Oct 2014, p.50]

This is the most introspective Wolves In The throne Room release to date. [Sep 2011, p59]

I Love You is rich enough with textural ambiguities and seething digital soups to easily warrant repeat visitations. [Feb 2012, p.65]

[Foxx's] legacy has come to be revered, with his influence on electronic music recognised by the likes of The Orb and LFO. Evidence, Foxx's third album in 3 years with The Maths, provides plenty of evidence why. The tracks and crafted and atmospheric. [Mar 2013, p.55]

In C Mali has a delightfully loose and relaxed feel. [Mar 2015, p.51]

Recognising that electronica isn't bound to depict the future any longer has given Pritchard the key to his most consistent and enjoyable work yet. [May 2016, p.54]

This meld of savoury-sweet singing, moreish melody, glistening texture, strange space and surprises galore makes I, Gemini the best pop-not-pop album since Micachu & The Shapes' Jewellery. [Jun 2016, p.47]

20 years of silence have created an even more authoritative tone to the declamatory rhymes here, the fury undimmed but increasingly replaced by a more simmering sense of foreboding and dread. [Aug 2018, p.69]

It collates her various sides and strengths into the most complete and resonant recording of her career. [Feb 2023, p.44]

A defining album that should lift her out of the 'sounds like' territory. [#248, p.65]