The thrill of Fetch is in its precision, its Bachian joy in maths. [Dec 2013, p.54]

Future is one of the few true artist of Auto-Tune, and the emotional honesty lying behind trad-rap boasts bleeds from his words in a minor key and a pitch as subtly tremulous as a wobbling bottom lip. [Jun 2014, p.63]

This music reminds you how alone you are; it consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how inaccessible we are to each other but just how universal our pain can be. [Dec 2016, p.63]

New York Noise is exemplary: the right mix of 'hits' and obscurities. [#233, p.71]

The guitar duels still give plenty of heat and smoke, but they're more smouldering and linear than Comets' intemperate explosions. [Mar 2016, p.46]

There’s a luxuriant impulse at work on this second album by the London-based keyboardist and producer. The strings in particular work beautifully on the soporific funk of tunes like “1989” or “Toulouse”, suggesting a Xanaxed Roy Ayers recording for CTI in the mid-70s. Aug 2020, p.68]

Atlas is entirely ambient, a slipstream that moves in slow motion using dense atmospheres to confuse the listener, who is only momentarily permitted to take a specific position. The closing composition “Earthbound” guides us back towards the ground, but any sense of spatial awareness is already too skewed and you are left to wade your way through the remnants of sonic fog. [Sep 2023, p.56]

It’s a startling new sound she has here, featuring voices of an unplaceable vintage, piano, bells and chains that carry centuries’ worth of dust and shadow, the songs a distorted and twisted take on gospel that’s sometimes slurred like a warped record, sometimes scarifyingly stark and always tightroping between redemptive faith and avant garde oddity. [Jan/Feb 2024, p.92]

This part of the past is not so much a source of rare metals to be strip-mined, but a seed bank of rare or lost varieties. [Jul 2012, p.63]

Deftly slice through seemingly disparate arenas--the fertile intersection of past and present, acknowledging both without succumbing to the whims of either. [Aug 2017, p.56]

The collaboration has had the effect of sharpening Oldham's focus and yielding one of the most gripping collections to bear one of his many pseudonyms. [#252, p.48]

Another Life captures the ecstacy and catharsis of bodies exchanging sweat and petrol, crushing each other in unison. [Oct 2018, p.48]

Susanna is backed by a quintet of musicians who move in perfect harmony with her slowly uncoiling vocal. Shifting between jazz, orchestral and synthesized sounds, her approach to the time-honoured love song format is a much needed breath of fresh air. [Oct 2024, p.62]

The songwriting is at times patchy....But the noise of Le Noise sets it above Young's last few albums. [Nov 2010, p.62]

The diversity of the record, it’s ability to flow from gnarly jazz to doomy funk of to peachily perfect quiet storm pop like “Conmigo”, never feels forced; and there’s a new wisdom and wonder to Muldrow’s voice that leaves things suggestive more than doctrinaire, open rather than sealed, playful rather than penetrative. Superb. [Dec 2018, p.63]

There's still plenty to enjoy on Tassilli, but desert blooms fade fast when overwatered. [Sep 2011, p.65]

Black Sun has a broader palette, even if it's not really any lighter. [Apr 2011, p.53]

There’s still no shortage of the epic thumps and crashes that made Lotic such an exciting prospect in their early days, except now they have more space. Instead of overwhelming a listener with the persistent high of audio ultraviolence, it allows for more subtle dynamics. [Aug 2018, p.57]

Despite the use of repetition and layering, Street Horrsing's sonic make-up is often unpredictable, which is where their strength stems from. [Apr 2008, p.57]

The production is flawless. ... But the obvious big tunes fall flat.

What emerges so strongly from this collection is evidence of gradual development over time--stumbling, erratic, silent and brilliant by turns--ultimately leading to a stage of maturity. [#200, p.68]

It's exhilarating and rare to hear such bruised raw performances as these. [#242, p.71]

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]

The low end may not cause subterranean trolls to bang angrily on their ceilings as with 1993's Earth 2, but the rich textures and Carlson's expressive leads provide plenty to luxuriate in. [Sep 2014, p.54]

Their latest effort, All Tense Now Lax, impresses both for the nuances of its industrial abstractions as well as how vigorously it avoids recognisable styles. [Jul 2015, p.48]

The pair’s soundtrack is trippy and foreboding, swaying between melancholy cosmic laments on slo-mo keyboards (“Leaving Moomin Valley”), mysterious Middle Eastern whines (“Hobgoblin’s Hat”), extraterrestrial dream sequences on thumb piano and wooden glockenspiel (“Most Unusual”) and a giddy blast of what sounds like computerised rodents squeaking with speeded-up glee (“Party Time”). [Mar 2017, p.65]

The threat of salvation has never sounded more eerie. Wake In Fright is about the horror of being too much alive, the horror of all the things people do to escape life while forgetting that any attempt at running away from existence only results in a tightening of its shackles. [Apr 2017, p.