Earthgang have one foot in the now, the other turned toward the horizon and an uncertain future. [Dec 2019, p.60]

[Co-producer Rick Rubin] is a reductionist, an essentialist, which suits ZZ Top just fine. [Nov 2012, p.67]

There are moments of serene beauty, like "Oubliette" and the seductive gondola romance of "Fragmentation," but the album's action scenes feel glossy and detached, picturesque rather than visceral. [Mar 2016, p.42]

If there's one negative to this compilation m it's that Ghetto house is best heard in a fast and furious mix where the one trick pony tracks don't wear out their welcome and the salty language loses all meaning and becomes nothing by pure sound at high speed. Here, however, the focus is on individual tracks with no mixing. [Jan 2014, p.75]

Shaolin is a pleasingly unpredictable record. [May 2011, p.64]

This mixtape sounds more coherent than its 2012 predecessor, the shroomed-out Tumblr rap artefact King Of The Mischievous South Volume One Underground Tape 1996 . The features are bigger. [Sep 2024, p.60]

The update here is that the music is from Glasgow, a city apart from the more cosmopolitan hubs of the global dance network, and one that’s increasingly recognised for its ‘scenius’. It’s perhaps these dislocated elements that make Golden Teacher a solid though ultimately unspectacular British curiosity. [Dec 2017, p.52]

Pastel and Thomson don’t attempt to (re)create the actual music made by Memorial Device; instead they piece together a suggestive collage of sounds evocative of the post-punk era and representative of wistful remembrance. The Pastels’ dreamy tendencies are well suited to this brief. [Sep 2024, p.54]

On the whole Ash Koosha aka Iranian composer Ashkan Kooshanejad's follow-up to Guud is a likable gem of an album. [Apr 2016, p.62]

Transistor Rhythm is functional and stylistically up to date yet modestly unique. [Apr 2012, p.68]

How Did I Find Myself Here? is the occasionally thrilling result. [Sep 2017, p.50]

If it undeniably looks into a past long before any of the members were born, the actual results provide more welcome context, using the music of the 1960s to create a sound which, in toto, didn’t actually exist during that decade. [Nov 2024, p.62]

The production throughout is a heavy slurry of deep bass and wavering, churchical keys, and songs that are not explicitly about his medical troubles are about the perennial problems of untrue friends and false lovers. [Mar 2016, p.42]

The feel... is more relaxed, more organic, more approachable. [#230, p.69]

Some handle the group's distorted guitars with a squeamishly light touch in the pursuit of sleek House and Techno. [Apr 2012, p.68]

A conventional song based offering, but essentially a continuation of the dialogue between Gunn/guitar and luscious underscoring this time more orchestral than electronic. The mood is generally soothing, but shot through with occasional suggestions of disquiet. [Nov 2025, p.53]

The new Infamous is good enough, another in the sting of solid but unremarkable rehashes of the original formula that both members have been trickling out for years now. [May 2014, p.74]

Wynn’s solo album Make It Right is a more comfortable listen than much made by The Dream Syndicate since their 2012 reformation. [Nov 2024, p.62]

Moore responds by occasionally holding on to his riffs, exploring their textures before returning to chop and grind mode. Such moments help break up the pair’s machine-like momentum, which in places makes tracks blur together; some actually sound like reprises of each other, somewhere between natural motifs and a well of ideas running dry. But the thrill of Moore and Hayward’s best right hooks and body blows justify the amount of punches thrown. [Dec 2017, p.55]

It's only unfortunate that such a master of making Rick Ross albums must live in a world where there are already five other Rick Ross albums. [May 2014, p.74]

Although they stop the gap between higher profile releases, they also stand capably on their own. [Jul 2012, p.54]

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

More so than her previous work, Carla dal Forno establishes a cold, dreary atmosphere as the ground for lyrics and delivery that strike a balance between doleful and cool. [Oct 2019, p.50]

If anything, however, Autechre have pulled back the throttle on their excursions into the unknown. [#254, p.53]

Their third post-reunion effort is less immediately engaging than its predecessor--perhaps due to a slightly uneven mix--but it remains true to the Dinosaur spirit while asserting a textual adventurousness that's often overlooked. [Nov 2012, p.70]

The beats are functional if not flashy. [Nov 2008.p.79]

There are many beautiful instants here, but their relentless abstraction also harbours a lingering sense of decorative indulgence. [Feb 2011, p.54]

Perhaps this recording isn't the best way to experience it, then, but, it whets the appetite for an UK performance scheduled for early 2015. [Jan 2015, p.75]