For all its bounce, this is a claustrophobic, airless LP, and you have to wait until the last track to hear a human voice free from distortion. [Aug 2022, p.52]

The result is a tougher but spacier sound. The original vocals are mixed in more prominently, and interplay with the deejay interjections relates to the lyrical content. [Nov 2022, p.71]

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]

The Fateful Symmetry is a fittingly freewheeling and bold final work from a singular artist and performer. As the songs swoop from industrial disco to piano balladry, Stewart is a steadfast, dramatic and charming grand dame – as commanding and provocative as he ever was as frontman of The Pop Group, and as sentimentally wounded as a torch singer. [Jul 2025, p.60]

On The Orb's 18th album, Paterson and current sideman Michael Rendall continue wandering these new (old) avenues. [Nov 2025, p.56]

There's being reflective and then there's navel-gazing, and unfortunately Alopecia is too frequently guilty of the latter to really engage either the mind or heart. [Apr 2008, p.66]

Swoops and swirls of tape chaff and manipulated sound effects alternate with the kind of beguilingly wistful, haunted folk we've come to expect from Tucker, brilliantly complementing the album's moments of abstraction. [Mar 2012, p.65]

The raps are often unaccompanied by beats, and this decision, combined with Diggs's deliberately rigid flow, results in a poetry slam aesthetic with only the faintest of links to the generic conventions and pleasures of hiphop. [Sep 2016, p.47]

This is a record that doesn’t sound like it emerges from hermetic isolation, rather it feels as extrovert and joyous and intriguing and intrigued as the city that inspires it. New York City made sound flesh.

This music's shoreline is made up of instrumental delicacy and subtle arrangements, which burble, froth and foam washing over the listener with an insistent but gentle force. [#257, p.61]

There's an appealing openness and lack of guile to much of Sign. [#215, p.66]

Although he wrangles these troublesome rhythms with aplomb, at times they bring out a cartoonish tendency that undermines his usual deadly poise. [Nov 2011, p.66]

Like every track on this EP, it's an incredibly precise and convincing reconstruction of mid-80s electro-pop that is nostalgic with out the obfuscating murk of H-Pop. [Nov 2011, p.70]

Patton’s signature style is overpowering, transforming an opportunity to create something unique into another of his side-projects.

Antwood hops between an arcade’s worth of genres, twiddling microprocessors to their squiffy, pixel-helicopter max later in that track, or embracing flute and some approximation of a banjo on “Castalian Fountain” before the Street Fighter beats hit. [Sep 2019, p.65]

The nine tracks here compact his characteristic baroque late jungle excesses into compact, juddering frames. While they still rarely swing, their frenetic motion carries bent and warping keys, rolling breakbeats and maddened blarps of synth towards a clear endpoint. [Feb 2020, p.58]

Not every release in the heaving Boris discography is essential; this one most definitely is. [Oct 2022, p.52]

An album that for the most part is ebulliently nasty pop, the monumental “Big Steppa” and the gleefully foul “No Face” in particular will be irresistible to anyone raised on Trina and Missy Elliott, daring us to switch off as the party spirals out of control. [Nov 2022, p.73]

This is not a purely inert record, in the sense that it is still essentially rhythmic, its tracks built from an interplay of beats and circling melodic motifs. Instead, Statik more often brings to mind the approach Aphex Twin took circa the material on his first Selected Ambient Works collection – loops as unbroken circles, movement employed as a means of remaining in one place. [Jul 2024, p

A mixed bag. [Oct 2012, p.62]

With all this pent-up anger channelled into a nicely weird record, faUSt call their thrown-together team effort of improv and agitation “enlightened dilletantism”. As a jumbled response to unfolding chaos on Planet Earth, Fresh Air delivers a welcome jolt of energy. [Jun 2017, p.64]

It begins as quite a thrilling ride. But at this level of concentration, ten minutes feels like an hour; it soon becomes enervating. [#255, p.55]

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

For Bjork, this release marks a development in her craft.... SelmaSongs is a little big brave collection of songs that makes me feel better whenever I listen to it. [#201, p.58]

Glynnaestra feels like the project has moved beyond causal collaboration into something fully formed. [Jul 2013, p.56]

Wolves In The Throne Room return at full throttle. [Oct 2017, p.64]

For this project, Bakorta’s vocals are left at the studio door, which initially struck me as a shame, but a few listens reveal how much stronger the album is for being entirely instrumental. .... It’s clear enough what the remixes set out to achieve and, on their own merits they sound good. But in the context of the album as a whole they feel slightly tacked on; worth listening to, but maybe in a separate sitting. [Jan/Feb 2025, p.92]

Back In Black actually manages to sound vibrant and resonant without sounding dated – thanks in no small measure to the immaculate production throughout from Black Milk. [Aug 2022, p.64]