I’m always holding out hope for more of the genius heard on Doris but it’s unfortunately absent on Feet Of Clay. [Jan 2020, p.74]

Though still harbouring a sense of fun, there’s a maturity felt throughout Dennis. [Jun 2024, p.61]

There's the sense that the group are holding back a little. Some tracks just don't quite work on a visceral level, as dance or as forcefields of conflicting elements. [Sep 2013, p.51]

Some Say I So I Say Light's uniformity can become a little wearing across 11 tracks. [May 2013, p.52]

The swelling, churchy ambient post-rock of Juliana Barwick’s latest could spill over into pomposity in heavier hands, but the freshly Los Angeles based artist exudes a modest air. [Aug 2020, p.64]

Tracks have potent moments, but they’re slapped together with little thought for overall flow. [Jun 2019, p.60]

Songs to shiver ’n’ shake to. [Apr 2023, p.64]

Hooky, featherlight and strange. [Jul 2018, p.55]

Earl Sweatshirt and billy woods, who kick off the proceedings with the intoxicatingly smooth “RIP Tracy”. MIKE and Sideshow offer up my personal favourite with “Bless”, and Boldy James teams up with TF on the moody “Trouble Man”. [Sep 2023, p.67]

Garden Of Delete feels more like an audio showreel than a traditional album. [Nov 2015, p.51]

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

There's no bullshit and no nonsense here, but listening to this album,, you might end up wishing that there was. [Dec 2011, p.68]

The R&B tropes are part of a reassuring past, and the half-there vocals don't add enigma so much as leave the music unchallenged and stick in its old ways. [Oct 2013, p.47]

Callaghan has served up an album that, interestingly for his fractured vocals and streaming lyrics, is unusually coherent. [#230, p.61]

Byrne has done a tidy, if not terribly exciting job on the soundtrack. [#235, p.57]

The bold accessibility and nostalgic tone of Bermuda Drain is a surprise. [Jul 2011, p.60]

Gengras's sublime drones--layers and layers of modular synth--evoke the spectacle and tragic history of his native California's wilderness. [Jun 2014, p.62]

Contact may be more consistent than earlier albums, but some of the edges have been filed down and some of the physical intimacy that had such an impact by virtue of being too close for comfort is dialled down. [Apr 2017, p.47]

This 17 track album is the perfect embodiment of the sound and ethos the label has been pushing over the last nine years. [May 2019, p.66]

It Should Be Us returns to the lunging bass distortion and nauseous slowed down beats of his instrumentals – the only voices to speak of rising from the churning depths as eerily pitched-down house vocal moans. [Jan 2020, p.73]

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

This batch is a collection of film and advertising themes that stretch the limits of library music. “See The Cheetah”, credited to The Big Game Hunters, would have had all the kids frugging at a 1990s easy listening club. Best of all is “Moon Journey”, Garson’s symphony of tootling chugs, zaps, bloops and blasts that scored the 1969 Apollo 11 moon landing on CBS News. [Sep 2023, p.66]

Some of the tracks are dead ringers for math rock, but in Bishop and Chasny's hands that ornate form attains gut-level thrust. [Sep 2012, p.64]

Such unashamed prettiness in a production is rare, and it's rarer still to achieve this without sliding into a quagmire of tweeness or an insufferable knowing smugness. [#252, p.62]

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]

The elegantly bruised production is so captivating that I'm left longing for Ripatti to once again sink the vocals intot he subliminal and the sublime, as he did on "Vocalcity." [Nov 2008, p.66]

The laser-like concentration on groove and gorgeous textural flutterings just about keep them away from pastiche; the result is like having honey poured in your ear for 50 minutes. [Oct 2016, p.64]

There are still hints of Gnod's more psychedelic aspect, but these tracks feel lean, stripped back and sharp-eyed. [May 2017, p.46]