Hallucinogen moulds diverse influences together into a perplexing whole. [Dec 2015, p.51]

I Love You is rich enough with textural ambiguities and seething digital soups to easily warrant repeat visitations. [Feb 2012, p.65]

A warmer, more deeply hued record than previous productions. [Jun 2015, p.49]

Unforced, almost conversational asides give the music an intensely focused off the cuff feel. [Dec 2014, p.46]

The music shines with solitary delight. [Feb 2015, p.46]

Color is an album of two halves, with gloomier hues on side two. [Nov 2016, p.53]

When dealing with the more fully formed of the original songs, the album is extremely strong. [Apr 2013, p.58]

Their focused, cleverly crafted pop fiffs are impressive, for a time.... But by the fifth track, things start to go wrong. [Mar 2008, p.48]

This is unmistakeably a Loraine James record – the synths are capacious and the beats are intricately counterintuitive – but Eastman’s work has clearly been generative. [Oct 2022, p.44]

Much of their output since has been consolatory rather than essential, and ultimately Clone Of The Universe can’t quite escape that tag, but Fu Manchu remain justly loyal to old production values--absurd amounts of bottom end and tube fuzz, basically. [Mar 2018, p.58]

While Lattimore is willing to put her instrument through some effects, she never subdues its essential character. Its inherent lightness gives records that bear her name a yielding quality that contrasts with the stark clarity of Baird’s solo work, let alone the body blows delivered by her combo Heron Oblivion. [Dec 2018, p.44]

Ashin, in giving so much of himself away, leaves little scope for the kind of mystery that might enable his musical settings to transcend their functional pop status. [Feb 2013, p.60]

A rewarding new departure. [#242, p.72]

While PTSD is sometimes a slog, it's always substantial. [Jun 2014, p.63]

With Drumm at the helm, the album resolves itself as a spooky and nuanced maelstrom. [Nov 2012, p.56]

While the lack of fixed personnel gives the album a gloriously freewheeling mixtape feel, Remy’s lyrics and persona in these songs, – particularly the wondrous title track and the miraculous “Tux” – demonstrate both a sleep deprived hunger for changes of spiritual and musical trajectory – sometimes within a single song – but also a recurrent return to elemental, physical needs, and the sheer lambent wonder of the grooves and hooks always keeps you rapt. [Mar 2023, p.60]

This collaboration feels like his most companionable, as he flexes and grouses through many moods, always in the service of the song. [Mar 2015, p.47]

As per usual, Grails prove frustratingly difficult to love or hate. [Apr 2017, p.60]

He's nowhere near as agile as he once was, but that slack is picked up on a handful of collaborations with sharp young rappers like Lil Herb and Vince Staples. [Sep 2014, p.65]

The album is ultimately defined by its ten minute centrepiece “American Dream” and the 14 minute closing title track. Both beatless, these two are painted in broad, expansive strokes by Martin and further shaded by some of the most mystifying motifs of Carlson’s career to date. [Apr 2017, p.49]

As a pop album, Channel Pressure falls short, primarily because the songs simply aren't as good as their impeccable references demand. [Jun 20111, p.46]

Guero turns out to be much stronger than its provenance suggests. [#256, p.66]

A set of powerfully written and unfussily executed songs. [#248, p.50]

If the crackling electronic chaff of previous efforts seems less dominant this time around, it most likely because the group have learned to skillfully incorporate it into their increasingly accomplished and accessible songcraft. [Nov 2008, p.74]

Like O'Rouke, Ambarchi skips light-footed across vast terrain in under an hour, and comes out with something that resonates perfectly. [Mar 2012, p.50]

Perlas is debonair, contemporary and redolent of that old seductive charge. [Mya 2012, p.58]

The refreshing result being space music that is neither soporific nor dystopian. [July 2013, p.54]

Jimmy and Swae kick gleeful and indistinguishable spring-loaded raps about nothing in particular. [Feb 2015, p.57]