In the past this rage was intrinsic, wounds covered with cheery sugar, but now there is emotional distance at the core of Heavy Light, filled with others’ voices. Whether or not a deliberate choice, through this transformation the album loses some of its potency and ability to affect. [Jun 2020, p.59]

Foreign Body evokes alienation from a bottomless chasm of introspection. [Mar 2012, p.57]

The Wire agenda stays constant in a changing world. [Apr 2015, p.63]

Released on their freshly launched record label Keck, Giant Swan is a front-loaded beast. ... The second half of the record loses momentum, danceable rhythms outweighed by slow motion drones and jagged noise

White noise is the most versatile tool in Brighton producer Alan Myson’s kit: he deploys it as a gloss on everything, to either mind-quieting effect on tracks like “Angel In Ruin” and “Oblivion Theme”, or as an anxiety accelerant as on the fuzzed out battle-pitch “Bladed Terrain” where static hisses behind stomping, crunching thwacks and arpeggios. [Jun 2020, p.60]

When he’s not waxing heroic, Chasny gets in touch with his most spaceward impulses. [Jul 2021, p.64]

On Centres, the songs have a lyrical content that makes their meaning more discernible. [Aug 2016, p.48]

The lyrics are delivered just above speaking pace to empathise with the listener, with similes and wordplay that vivify and even try to explain the vagaries of love. [Nov 2016, p.58]

Lee Gamble’s In A Paraventral Scale makes another step towards a scene that for some has been and gone. [Mar 2019, p.51]

Black Bubblegum is Copeland's most surprising release for a long time; it's also perhaps the most obviously approachable record he has ever been involved with. [Aug 2016, p.48]

Sounding at times as though someone had isolated the synth track from a classic Hawkwind record, the music here is familiar and invites associations. ... Regardless, On A Clear Day is a pleasant affair.

Totalling a scant half hour, the album’s fleeting length leaves me wondering whether some tracks exhaust all potential within their mayfly-like timespans. But it captures a moment, and judging by the collaborative rapport between Levi and Coates it suggests, hopefully it’ll be the first of many. [Nov 2016, p.59]

Smalhans is something of a palate cleanser, but a satisfying one nonetheless. [Nov 2012, p.62]

His music has an airless, contrived and over-polished quality. However, the production style developed by his team of collaborators is glacially impressive, if gloomy. [Apr 2015, p.66]

They sound for good or ill like they’ve beamed in from psychedelic hard rock’s boom period too. ... Face Stabber is 80 minutes long, with two songs accounting for 35 of those minutes, and betrays mild hubris as regards their ability to jam interestingly. [Sep 2019, p.60]

Those nostalgic for the Aphex sounds of old may find them here, but served up rotten and misshapen, as an agreeably queasy warning that nostalgia can only get you so far. [Aug 2016, p.46]

7G doesn’t feel so much like an album as an extensive portfolio of a very exciting producer. [Oct 2020, p.52]

Nelson used to use his voice to give focus to soundscapes; now they are means to express some uneasy feelings about country and relationships in the 21st century. [Dec 2019, p.52]

There are moments when the structure of this album fails to centre itself, and it is easy to get lost in the finer details of the arrangements. ... It is clear from Love Streams, with its increased manipulation of vocals and wider palette, that he is becoming braver. [Apr 2016, p.51]

It's a surprisingly luxuriant record. [Mar 2012, p.58]

The mood of the album is always upbeat, ending with the forward looking “Vorfreude 2”--the German word meaning an anticipation for future pleasures--and doesn’t venture into any of the weirder, harder, filthier, squelchier corners of electronic music.[Nov 2017, p.66]

Small images ground these drifting, elusive, probing songs, providing moments of recognition and stillness, before they push off again into the mist. [Aug 2025, p.54]

What stands out across Rather Ripped are the remarkable melodic turns throughout. [#268, p.63]

They play out as fascinating (and funny) monologues in themselves. [Nov 2012, p.62]

Volume 3, produced by Ben Frost, shades closer to songwriting in places, as Bon Iver's Justin Vernon and other guest on harmony vocals. [Apr 2013, p.57]

The bouncy yet deadpan Italo energy of first single “The Girls Are Chewing Gum” sets the tone, with cosmic blasts and ray gun bleeps lending variation to the subsequent tracks. [Jun 2019, p.49]

Yes, it's disappointing that Stewart fails to stretch the musical imagination at the same tome, but to roll you eyes at the lack if sophistication or concussive originality is to shun the bigger picture. [Mar 2012, p.60]

The group demonstrates admirable judgement, gesturing at entropy while craftily dodging its embrace. [Mar 2011, p.58]