It's fair to say that not much new ground is broken here, but it's remarkable how endearing their blend of chugging underground pop and frail ragas still sounds. [#210, p.66]

A warm and immensely good natured record. [Apr 2017, p.63]

It’s tempting to call these outtakes but their vision is sharp and purposeful, sustained by a consistently monolithic interplay and helped by Steve Albini’s signature traits. It all makes Pyroclasts one of Sunn O)))’s heaviest and most penetrating albums. [Dec 2019, p.55]

Prekop's approach to synth composition is refreshingly free from pomposity and self-regard, his ego dissolving amid cascades of fizzing electronic sounds and beatific melody.[Mar 2015, p.56]

The group's debut for Thurston Moore's imprint witnesses the coagulation of the four-piece into something more identifiable as an honest-to-badness rock group. [Nov 2008, p.68]

The next person who decides to write a book on Miles Davis, or agrees to play him in a movie, will find this set invaluable. But for the casual Davis fan, it’s bound to be a bore and a chore. [Nov 2016, p.76]

The first few listens don’t disclose the full complexities of Simon’s work – it remains semi-horizontal and distant, like a tired shrug. But after several repeats, the circular motifs begin to, if not get under the skin, then at least claw at it a bit. [Mar 2018, p.44]

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

As a gesture of positive force, Commune is effective; as an instigator of evolution it falls somewhat short. [Sep 2014, p.59]

It feels like a resumption of a music that has been going on uninterrupted, in private, like it was music playing itself forever. [Jul 2015, p.48]

This is one of the best garage pop sides sine The Chills' own "Brave Words." [Dec 2008, p.70]

It's a rich and layered work that refuses to be easily summed up. [Jan 2013, p.69]

Tobacco’s beats sound like a mescaline trip through a haunted theme park from Scooby Doo, while the Def Jux legend in a different lifetime raps about an eagle snacking on a cat like a churro. Pretty standard stuff really. [Mar 2019, p.65]

Easily Hud-Mo's best work yet. [Aug 2011, p.67]

The fact that Ultimate Care II is also, in its flexible extremes of danceability and post GRM meditation, one of the most purely enjoyable albums I've heard recently. [Feb 2016, p.55]

The entire affair has a bewitching ease, an effortlessness absent from Malkmus’s artistry since the days when he wanted to name his solo debut Swedish Reggae. [Apr 2019, p.58]

These collaborations have been performed live over the past few years and for all its pristine yet textured presentation Gensho succeeds in capturing the dynamics of those live actions. [Apr 2016, p.46]

Most of the pieces suggest parallels with Barnett Newman's paintings--fields of pure, striking colour, impressive in their own way, but requiring a particular angle of looking and mode of thought in order not to be boring. [Jul 2012, p.56]

A collection of slow, moody pieces whose unexceptional nature is made more frustrating by the occasional flashes of inspiration. [#206, p.77]

Overall you sense that the full potential of the encounter is not being realised. [#230, p.61]

Shorn of much crowd noise or banter, it operates more as an alternative greatest hits set.... [It] allows them to take their rightful place as a warm, distinct and proudly independent voice in the rock pantheon. [Nov 2013, p.52]

The conceptual core of Vessel’s third album is rather ambiguous. Queen Of Golden Dogs follows a loose narrative of self-discovery and transformation and a couple of queer literary and surreal visual art references. ... Musically, Queen Of Golden Dogs is similarly vague and amorphous. [Dec 2018, p.58]

Fay aficionados may be unsettled that our man seems to have been kidnapped by aliens and reprogrammed as a frail new age gospel singer. Eccentricity is kept to a minimum, as thin songwriting is padded out by repetitive chanting of a chorus's final line. [May 2015, p.49]

True to her reputation as an uncompromising force, at no point during Edge Of Everything does Temple show any mercy. [May 2019, p.66]

The results are sketches, in the best sense: unplanned, absorbing accidents as new pathways, concerned with mood rather than architectural precision. [Oct 2012, p.60]

There's a feeling of disconnect between idea and result, with Construction Sounds tending towards solid but unremarkable investigation of texture. [Nov 2012, p.72]

It's seven tracks whip by in a 35 minute blur, with only a dew isolated moments sticking out. [Aug 2013, p.57]

This is warped, tactile and certainly druggy music. However, it's the duo's use of breathless double time flows that vividly replicate the mesmeric metal hum of psychedelics. [Oct 2014, p.64]