Standing apart from the usual darkwave fold, Lorelle Meets The Obsolete make music that's melodic, accessible and moreish without compromising their darker, more experimental instincts. [Oct 2025, p.64]

Martyn is very good at what he does: the record radiates maturity, technical chops and a cool, sometimes poignant emotionality. [Jun 2014, p.62]

The musicians' sensibilities combine to create a bliss pop which doesn't simply evoke the spirit of summer, but allow it to bleed into every chord. [Oct 2012, p.64]

The live material captures a potent clash of styles and reminds that progressive rock was not necessarily a pseudo classical confection. [Mar 2018, p.66]

Haino’s signature detonations and Yacyshyn’s punctuation leapfrog each other, creating a Möbius strip of energy that escalates freely without falling--a tightrope walk that American Dollar Bill has been building towards all along. [Mar 2018, p.48]

Their world is one where the scrambling of senses serves a true psychedelic purpose--to open doors, to facilitate fresh ways of perceiving and, most gloriously, to wonder. It’s great to have (all of) them back. [Mar 2019, p.49]

Rival Dealer constitutes Burial's boldest statement to date. [Feb 2014, p.44]

This is jazz that’s best heard at maximum volume. [Apr 2018, p.62]

The addition of Steven McDonald from Red Kross and Jeff Pinkus from The Butthole Surfers lends more low end weight to the band’s already bottom heavy sound, but otherwise Pinkus Abortion Technician is business as usual. [Jun 2018, p.65]

Future is one of the few true artist of Auto-Tune, and the emotional honesty lying behind trad-rap boasts bleeds from his words in a minor key and a pitch as subtly tremulous as a wobbling bottom lip. [Jun 2014, p.63]

Knowing the emotional background behind its recording makes it unbearably poignant but this crackly, lambently textured mix of treated piano, longwave static and vocals would move anyone who had a heart. Sublime art from horrible circumstances and Craig’s best work to date. [Apr 2020]

This is rain-choked pain music, inspirational negativity, hypnotic blood moon melodies over crack-slanging boasts. [Mar 2019, p.65]

Where Shine New Lights doesn't radically deviate from TJO's design concept, but it does favour a more minimal feng shui. [Feb 2014, p.51]

Each track feels like an experiment in throwing footwork principles at other genres to see what might stick, but the results are uniformly excellent. [Apr 2018, p.62]

The polished arrangements, alien harmonies and attention to detail that have characterised Stereolab output over the years are all present and to the usual high standard. [Nov 2010, p.60]

An album that marries similarly weighty existential themes with a deft, almost playful sonic curiosity. Though its lyrics grapple with capitalism’s erosion of humanity and the psychic toll of modern life, the music itself is anything but oppressive, being loaded with irresistible hooks, kaleidoscopic colours and confident, warm, kinetic production. [Jun 2025, p.50]

The compositions recorded by Matt Carlson and Jonathan Sielaff's synth and reeds duo have a sense a purpose often lacking in the hit and miss output of today's numerous modular operators. [Apr 2014, p.63]

There’s a sweetness, and an earnestness, driving these ecstatic breakbeat rave confections (you can hear the influence of Drew’s hardcore-heavy record collection too). In someone else’s hands that mood could feel forced, or just plain naff, but Resonant Body never does – if your hairs don’t stand on end for the daft euphoria of “Spin Girl, Let’s Activate” or the raw junglism of “Ecstatic Beat”, it’s about time you got off the dancefloor. [Oct 2019, p.64]

Universal Beings E & F Sides is explicitly more of the same for fans of the original double LP. [Oct 2020, p.57]

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

Guardian Alien's music, which, driven by Greg Fox's questing, cyclical drumming, creates wide and wondrous vistas. [Feb 2014, p.54]

Down there, his most accessible work outside the confines of Animal Collective, revels in that upside-down gravity. [Nov 2010, p.61]

At 31 minutes it’s a perfectly timed drift towards increasingly heatsick, woozy instrumental hiphop. [Jun 2018, p.67]

This is folk music for the post-industrial era, which aspires to the condition of a true world music, not as a postcard from some Club Med of the mind, but as a dispatch from the front lines of both climate change and the extinction of animal species (real and imagined). Essential listening, and a real adventure in the undergrowth of the underground. Sit a spell in the shade of the Borametz. [Aug 2019, p.56]

This is a dark night of the soul record, a distant country cousin of Young's Tonight's The Night, but it feels flooded with light and air and space. [#232, p.73]

He hits every track as if he’s smashing an Idaho potato. [Apr 2022, p.59]

Animals is a riotous, communal affair that doesn’t so much straddle the line between hiphop and jazz as wrestle with both traditions and emerge with something grand. [Sep 2023, p.60]

Drift Code may not be as bold an artistic statement as Spirit Of Eden, nor as interesting a sideline as .O.Rang, nor in all likelihood be as celebrated 17 years hence as Out Of Season. But Webb proves himself just as skilled as his former collaborator Gibbons in his ability to build worlds whose orbits brush against the heart while always staying at arm’s length. [Feb 2019, p.49]