More than just a treat for both bands' fans, this is a genuinely surprising and brilliant collaboration. [Apr 2026, p.51]

This is his second essential album of 2012. [Sep 2012, p.70]

He's tightened his flow ever so slightly, but the brutal artlessness of his writing and character remains. [Jan 2012, p.69]

They make it sound easy, and there are moments where that ease works in their favour. “Exalted” has the same gliding grace as the best moments on Moore’s last album of songs, The Best Day; conversely the way Shelley and Googe bear down on “Aphrodite” is quite satisfying. Still, the record could have used a more contrarian filter. [Jun 2017, p.67]

One moment she comes on like a pure music box turnaround MC, the next like a spitting cat, her delivery sits perfectly on the fucked up thud and South London hissing spherics conjured up in the mix. [Jul 2018, p.61]

A conceptually intriguing and emotionally powerful masterpiece based around the antihero of the title. [Feb 2016, p.59]

The overall effect is fresh and forward thinking throughout. [Jul 2017, p.53]

With Return To Archive, the balance is just right – this gets nearer to sound art. [Nov 2023, p.52]

It's ruling mood of detachment might appeal more to listeners who never went out in the first place and who prefer to experience physical release and emotional engagement through the filer of files, screens and headphones instead. [Jul 2011, p.50]

25 years down the line, Wire are still pulling off coups as daring and deadly as This Heat's debut. [#224, p.73]

A worthy addition to Byrne's sprawling oeuvre, while never reaching the heights of his greatest work. [#242, p.57]

A quietly masterful concoction. [#236, p.62]

The outcome is mostly a coruscating shot of tough nomadic blues, but here and there it skews into a self-indulgent liaison with a time-bound, well-worn rock sound. [Jul 2011, p.61]

Stripped of the visuals, the seemingly endless succession of minor variations (75 tracks between the two collections) on the same sets of glossy and pleasant synth arpeggios can be at once bitty and overwhelming. [Oct 2016, p.63]

All the more powerful for jumping from comic invocations of Ric Flair and Friday The 13th to casual and viciously flippant references to Xanax and other addictions. [Jan 2018, p.78]

It's the lighter, trickier touches that stick in the head. [Sep 2012, p.56]

[Foxx's] legacy has come to be revered, with his influence on electronic music recognised by the likes of The Orb and LFO. Evidence, Foxx's third album in 3 years with The Maths, provides plenty of evidence why. The tracks and crafted and atmospheric. [Mar 2013, p.55]

Everyone Was A Bird is a lot more than a pictorial guide set to music. [Jun 2015, p.46]

20 years of silence have created an even more authoritative tone to the declamatory rhymes here, the fury undimmed but increasingly replaced by a more simmering sense of foreboding and dread. [Aug 2018, p.69]

One Eleven Heavy have an uncanny knack for sucking in the charms of rock heroes of yesteryear and expelling them with contemporary fancy, with the best results being the hazy drag of “Hot Potato Soup” and the dizzying Allman Brothers-like closer “Three Poisons”. [Nov 2019, p.62]

The music they make is as quirky, infectious and amusing as the theme that powers it along, and Memorial Waterslides turns out to be a work of inspired joy. [Oct 2024, p.62]

It could all, of course, be unbearably mannered, but the duo's constant striving for layered perfection, contrasted with the very human qualities of the vocals, keep it grounded in some sort of feeling. [Sep 2008, p.61]

At times flush with the meditative air of Alice Coltrane, elsewhere like some whispered about 80s new age obscurity, this album both requires and justifies extensive attention. [Mar 2019, p.62]

Twelve Reasons deals in broad strokes rather than the collection of synapse-sparking details we've come to expect from this consummate trickster. But even in two dimensions, Ghostface is a phantom force to be reckoned with. [May 2013, p.57]

Love In Shadow, Sumac’s fourth studio album in three years, features four songs occupying a side of vinyl each and brushes territory you’d hardly associate with its members’ other projects. [Oct 2018, p.62]

Far from being derivative, Demolished Thoughts remains uniquely Moore's own. [Jun 2011, p.51]

These days, addressing race and gender in doom metal is considered extreme in itself; with Gas Lit, the duo demonstrate that extremity is not just found through deftly executed blastbeats and downtuned riffs, but within the decision to create music that defies categorisation. [Feb 2021, p.46]

The closing track "Temptation" proves that electronic producers who refuse to be typecast are the ones who keep the music exciting. [Aug 2012, p.44]