The music on Freak Puke isn't exactly unheavy, but its heaviness is of a different vintage. [Jun 2012, p.60]

The nature of their interaction sheds light on the physics and mathematical realities which underlie music and its capacity to stimulate or move us. Often in that process Drift Multiply happens to be unapologetically beautiful. [Dec 2020, p.55]

Eno's striving nature and his ability to morph sounds, alter moods and conduct psychoacoustic experiments still yields weird and enjoyable fruits here. [Jan 2017, p.64]

Despite its self-effacing title Workaround comes not as an afterthought to the above, but as distillation and progression, its 14 tracks at once crisply compelling and filled with playful delight, honed by minimalism and absorbingly complex, a constant 150 bpm that’s the opposite of metronomic. [Feb 2020, p.46]

The Twigs sound tough and robust, ready to take on the whole world rather than cultivate one small part of it. [Feb 2013, p.45]

It is a gorgeous piece of work. [Jul 2022, p.48]

Its comforting gloom draws you closer and closer, extending an invitation to lose yourself that could easily be mistaken for escapism. But this music is one of presence, not absence. [Sep 2025, p.61]

The throttled mayhem that spits from the record is in keeping with the legacy of the aforementioned punks [Dead Kennedys and Misfits], as well as DC hardcore pioneers Bad Brains. [Oct 2025, p.54]

What is most striking about Why Do The Heathen Rage?, Which reworks Black metal songs as electro, house and techno, is how intelligently respectful it is. [Jun 2014, p.55]

We Have Amnesia Sometimes proves that Yo La Tengo should leave their comfort zone more often. [Sep 2020, p.61]

The songs are long, mostly clocking in somewhere between ten and 20 minutes; the minutely orchestrated whole gives the misleading impression of a tightly controlled collective improvisation, with everyone doing their own thing together with spectacular commitment and focus. [Dec 2025, p.56]

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

The sonic diversity and range of Magdalene is a marked departure from the breathy triphop of LP1, yet a thematic trajectory is clearly traced from the suggestive sensuality of the first to the combative provocation of its follow-up named after a defamed biblical figure. [Nov 2019, p.54]

Packed with energy and furious with ideas. [#269, p.45]

It's ridiculous but oddly moving. [Nov 2014, p.62]

In spite of daft moments, the chilly shimmer of Push The Sky Away works its magic. [Feb 2013, p.45]

Edging closer to the creation of a pop kingdom realised on her own terms. "1/17" is "Castles In The Sky" for the hyperpop generation, whose nostalgic weakness for Y2K club classics is well served here lyrics like "Poetry and nude selfies, love the way that you know me" hit hard. [Sep 2025, p.62]

As Town And Country's move into mellow artists maturity, C'mon is an oasis of sensitive calm from our loutish world. [#217, p.61]

The gift that this record has offered him is the gift of being who he is once again. [Jul 2012, p.59]

The raps are often unaccompanied by beats, and this decision, combined with Diggs's deliberately rigid flow, results in a poetry slam aesthetic with only the faintest of links to the generic conventions and pleasures of hiphop. [Sep 2016, p.47]

It’s a smart meld, digging up some real finds and gesturing towards a switched-on DJ mind. [Jan 2020, p.70]

It's a rich and layered work that refuses to be easily summed up. [Jan 2013, p.69]

The parsimoniously arranged, mostly acoustic sound of the record enhances its projection of intimacy. ... Callahan doesn’t entirely give up his old taste for blankly delivered disturbance; his memory of childbirth includes the blood. But he’s never sounded so open or so genuinely happy. [Jul 2019, p.48]

[Bachman] offers a pretty good idea of where he's coming from. If it sometimes feels like the stream of America pimitivist fingerpicking artists is neverending, Bachman does at least apply his digits to a variety of instruments. [May 2015, p.56]

As The Forest In Me progresses, it’s interesting to consider which sounds are made with purpose and which are accidental – what is substance and what is ephemeral. When locked in to Xylouris and White’s deeply connected sound, it can feel like great secrets are being offered up to the listener, but heard in passing it’s barely anything at all. What magic. [May 2023, p.59]

Judging by the music on And The Anonymous Nobody, their sights are set firmly on the future. [Sep 2016, p.49]

The result is, even more than Blunt's previous work, an enigmatic emotional tenor. [Nov 2014, p.62]

An exciting second album. ... Their otherworldly fetishisation of dystopian collapse is so exhilarating it’s almost tolerable. [May 2020, p.48]