The impression left by The Hums's buzzing, keys-assisted pseudo-punk is that of a heavier Clinic or even Scottish also-rans Magoo. [Nov 2014, p.72]

O’Dwyer’s explorations of forgotten spaces, ways of listening and acoustic phenomena are as rich as ever, this haunted collection of subterranean sounds revealing even greater depths to her sprawling, strange work. [Nov 2017, p.61]

On the tracks where Baha works with collaborators, he bends his production style to suit the vocal quirks of the artist featured alonside himself. [Jul 2018, p.59]

A natural follow-up to his first solo outing. [#229, p.68]

Abalanced, democratic collaboration, with neither unit dominating.... Ghost's faraway sound lends Damon & Naomi's straightahead arrangements a yearning, devotional air... [#199, p.56]

With unobtrusive, yet telling contributions from friends including Meg Baird, The Cure’s Lol Tolhurst and Slowdive’s Rachel Goswell, she conjures up a bittersweet sense of location and changing times through six pieces that are subtly complementary, in their character and impact, meriting comparison to the finely nuanced ambient soundtracks of Angelo Badalamenti. [Jan/Feb 2024, p.96]

This is a synth album of considerable finesse, a soundtrack to imaginary films. [Nov 2016, p.67]

Here as elsewhere, Hval manages to perfectly combine an eerie, folkish, ethereal pitch that even veers on yodelling at times, as if summoning an army of hidden folk, with an earthly sensuality that speaks of all kinds of lust, particularly the kinds that hint at lengthy afternoons in obscure cabins. [Jun 2018, p.58]

This intensity and force, despite the stillness, brings a new dimension to Low's sound and makes C'Mon an interesting addition to an already impressive body of work. [Apr 2011, p.60]

With Hell Can Wait, he inches logically towards a modernisation of the chaotic wall of noise formula that defined Public Enemy than immediately pulls back from it. [Nov 2014, p.76]

Sauna Youth are a tight unit, their constituent parts meshing into a formidable wall of sound, but it might be an idea to lose a member or two, subtract an element and make space for uncertainty. [Jun 2015, p.52]

Knowing the emotional background behind its recording makes it unbearably poignant but this crackly, lambently textured mix of treated piano, longwave static and vocals would move anyone who had a heart. Sublime art from horrible circumstances and Craig’s best work to date. [Apr 2020]

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

Harvey's new strategy has been successful although White Chalk might be something of a curio, it's certainly her most haunting work. [Oct 2007, p.60]

How Did I Find Myself Here? is the occasionally thrilling result. [Sep 2017, p.50]

This new collaboration with London's Heliocentrics admirably recreates a smokey 70s atmosphere. [Sep 2014, p.64]

Lyrically, Foster possesses both esoteric wisdom and an ascetic purity yet never wanders out of reach; she has the musical instinct of her troubadour sisterhood (Joan Baez, Joni Mitchell, Carole King, Judee Sill et al) and in the spoken word moments, the cosmic gravitas of Eden Ahbez. [Dec 2018, p.48]

The music--hums, clangs and muffled booms--wields an ominous, oppressive power, especially on headphones, that can create a feeling of queasy horror even for those unaware of the record's backstory. [Nov 2014, p.68]

While Harris’s voice has become more manoeuvrable, the combination of echo, layering and breathy delivery push the literal meaning of her lyrics just out of reach. Instead the words are like a lure, drawing you further into the space between unfurling sequences of hesitant notes and quiet cries. [May 2018, p.49]

Gordon sings with a becalmed daydream-y satisfaction, mixing and matching phrases from different notebooks into a confident patchwork. [Nov 2019, p.54]

Walker's latest project effectively balances the saccharine with hovering fear, demonstrating his continued capacity for writing cinematic music invested with strange drama. [Sep 2016, p.57]

More substantial, positive and dynamic. [#225, p.58]

The comparison between [The Disco's of Imhotep] and Ancient Echoes revealing the absolutely consistency of Moss's vision over the years. [Aug 2016, p.50]

Code warms up as it winds down, as Malone is joined by frequent collaborator Ellen Arkbro for a trio of live recordings. [Sep 2019, p.56]

Whatever your take on Tibetan Buddhism, this is done with powerful sincerity and musical sensibility. The Albanian born Kodheli in particular does a remarkable job, and I defy anyone to listen to Anderson’s voice for an hour and not become a better person. [Oct 2019, p.48]

Though not all the tracks are fully realised, Molina was clearly pushing into new territory: that he never got there is a tragedy. [Sep 2020, p.57]

Some of these tracks have a stark, haunting beauty that marks them out as perfectly realised compositions in their own right. [#258, p.68]

The Sun's Tirade is a master class in restraint and pacing. [Nov 2016, p.64]