Falkner's presence helps tighten up Moore's game with out diluting his essential weirdness, while Moore encourages the usually perfectionist Falkner to cut loose and re-engage with the taste for lo-fi leakage. [Mar 2017, p.50]

The title of “Raindrops Cast In Lead” offers a brutal, evocative image, but any horror it tries to convey seems to get waylaid somewhere down the line by a cheery motorik chug. NO TITLE’s music matches the blunt force of its name when it makes room for discomfort. On “Broken Spires At Dead Kapital” strings play the broken fragments of a melody over guttural bass drones and the effect is genuinely unsettling. [Nov 2024, p.52]

Melnyk could use a bit more genuine mystery and less self-importance. [Dec 2015, p.52]

It’s not often that an album comes along that feels this loaded with transformative potential. [Jul 2021, p.66]

Prepare to be enchanted. [Oct 2014, p.61]

Farrell’s production is funky and deep throughout, but it’s sometimes a touch too downbeat; Kidjo is imperious on the chemically propelled “Dombolo”, Nneka spits controlled fire on the dubby “La Dame Et Ses Valises”, but tracks like “Wedding” and “Nebao” are sonic tar pits from which their stars struggle to escape. [Jun 2017, p.76]

It's [Neil Fallon's} witty, intelligent, lusty lyrics that elevate Book Of Bad Decisions from good to great. [Oct 2018, p.50]

Here we have songs about pet dogs, home invasions by molluscs, and boxing documentaries, threaded together by moments of humour and a command of language that few other rappers can match. [Oct 2025, p.64]

For the most part this album is unadulterated joy, and even in the instances where things feel a little more serious, it’s still entertaining as hell. [Aug 2021, p.69]

Though he's lacking some in terms of identity and he'll probably never be a technical monster, he benefits from the same instinctive ability to ride a beat's pocket that rapping producer predecessors like Large Professor and, yes, Dilla himself possessed. [Nov. 2010, p. 66]

It is mixed heavy in the low mids, blanketed by chorus effects, yet somehow misses warmth. Its ambitions are little short of symphonic. [Jul 2017, p.62]

They have a certain beauty, but it all feels sterile, airless. [Sep 2011, p.59]

Arcology is dense, detailed and melodic. [Mar 2016, p.51]

The songs' parts don't always transition as smoothly as the listener might like, making them feel like a long sequence of moments rather than a single, shifting musical experience. ... Still, when Pack and Pendleton are gliding above the battlefield, voices and violins arcing slowly around one another, there's a real beauty here. [Sep 2016, p.56]

[An] excellently focused overview. [Nov 2016, p.70]

In Arbouretum’s case the song remains much the same, but its continuation is more than welcome. [Apr 2017, p.60]

Each piece might be filled with personal meaning to the artist, but they all leave enough space for listeners to reflect on their own worries. The transition between the noisy, illusory interlude “[ A Backlit Door]” and the understated beauty of “Haruspex” is an especially poignant moment on an album rich with them. [Dec 2023, p.54]

More than any other Gas album Rausch captures the exhilaration one can feel deep in the woods, walking for far too long, marching ever forward without ever looking back. [Jun 2018, p.56]

There is a roughness and a sense of surprise to these tracks completely lacking from many other Four Tet productions. [Oct 2012, p.62]

WWWINGS deliver an album that has the rumbling force of feet stomping in unison but which is finished with a hi-tech sheen. [Sep 2016, p.57]

Lack doesn't allow so much for meditation, forcing the listener to confront its continued presence through interjections of anxious vocal exercises and crashing echoes, industrial scrapes and human ululations. [Sep 2017, p.49]

Though they're written to sound simple on the surface, PG Six's songs reveal an unusually high level of artistry on closer inspection. [Sep 2011, p.62]

Unlike a lot of electronica, the music never lapses into mere tastefulness. [#235, p.75]

In lesser hands [it could have slipped into corny retro tropes], but In Dust is if anything even less indebted to past styles than last year's impressive self-titled debut. [Sep 2011, p.56]

Impossibly both epic and restrained; somebody call CERN. [Nov 2017, p.67]

Miniawy's trumpet makes an appearance over the moody reversed bass and Auto-Tune of "Reels In 360", while opener "I See The Stadium" pairs his agitated uvular Arabic with Aussel's hulking bass propulsions and the guttural snarls of Lord Spikeheart. [Apr 2026, p.62]

“Bounty” exalts the genre’s heritage with a lyrical pastiche of pop songs--Blondie’s “One Way Or Another” and James Brown’s “Get Up (I Feel Like Being A) Sex Machine” among them. “Flight 1235” acknowledges the shift in perspective and approach while insisting it’s his hard-earned right. [Aug 2018, p.52]

Just as David Tibet uses English folk to create his own apocalyptic mythos, so Wood takes the bare bones of Americana and makes something personal and timeless. [Oct 2008, p.58]