It's easy to imagine more time and effort infusing these tracks with more colour and variety. [Apr 2016, p.55]

["LDN Shuffle" is] the most obviously exciting track of the set, but the more representative things are slower and more measured. [Jun 2018, p.64]

The London based producer integrates his maternal Polish roots in the spotty, fragmented and incidental way that only a truly intercultural artist can. [Sep 2018, p.49]

Wiggs’s music works best when it sets out its melodic ideas, then takes its time subtracting elements until you’re left with a filament of what you started with, as on the stunning penultimate track “The Soft Stars That Shine”. [Jul 2019, p.58]

With moderately different production, a lot of this would probably sound significantly tougher, but one gets the sense that studio slickness has rendered it a little toothless, blunting what could be a much sharper edge. [Apr 2019, p.68]

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]

Where Lopatin’s earlier work often evoked the sense of a simultaneous need and impossibility of love--most notably in his Chris de Burgh sampling “Nobody Here”--the music here seems to strive for immediacy. [Jan 2019, p.70]

At their worst, Ui thrash like run of the mill math-rockers, basses turned to 11 and meandering loudly.... What rescues them is a burgeoning melodic sensibility. [#233, p.71]

Leaving Meaning has all of the reassuring turgidity and tortured self-importance devotees have come to expect plus a cast of name contributors (The Necks, Ben Frost, Baby Dee, Anna von Hausswolff among others) for that vital essence of “Well, if they’re working with him, he’s probably OK, right?” [Dec 2019, p.57]

The album opener “Electron Central” sets a blissful, meandering pace, winding around in a shimmering drone like a drop of ink diffusing in a glass of water. ... The album closer “Empty Hold” takes a more unsettled turn, swooning and rattling into a resonant void. [Feb 2020, p.61]

Its ten tracks are heady, contemplative, spacious with a sense of impending loss. [Mar 2024, p.56]

Here, the 70s simulations, artful enough in their own way, are presented straight. The result, sadly, doesn't evoke 70s Italian Horror; it merely makes one think of already-over-familiar period and genre signifiers. [Jan 2013, p.62]

It’s all extraordinarily listenable thanks to Woolford’s clear vision in tracing various threads of connection between these forms of electronic funk. However, sometimes the direct, hyperspecific references, which can have such impact in club contexts, distract from the flow in the context of an album, and the moments where he navigates the spaces between those specifics become the most enduringly impressive. [Nov 2017, p.62]

Every now and again a ray of sun shines through, a warmth and homeliness that Buena Vista Social Club and its ilk condition you to expect, but more often they're glazed with a chill. [Sep 2012, p.62]

The blithe ease with which it slips from unruly quasi-techno to Tony Conrad-like violin drone (“Pumpkin Attack On Mommy And Daddy”; “The Wrong Thing”) keeps this consistently diverting. [Mar 2019, p.62]

Born Horses feels like a logical progression, the band’s luscious drift and bittersweet arrangements blossoming into widescreen vignettes of love, loss and revelation, but delivered with a poise and scale previously unseen. [oct 2024, p.58]

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]

In small doses this perpetual explosion is often magnificent. [Sep 2013, p.66]

Intoxicating oddness permeates some of these slow, shimmying jams. [Aug 2020, p.59]

The material on the album is a constellation of soft and fragile connections between intangible forms of rock. ... Juana Molina moves “Al Sur” with propulsive singing and electronic rhythms, making the song her own before “Into Love Again” brings this lovely album full circle with a Yann Tiersenlike folk ballad. [Apr 2021, p.60]

The tracks are subject to strategies of sampling, distortion, cut-up and back masking, to a troubling point of excess, impurity, queasiness, and corrosion, unheard of in earlier releases. [Feb 2012, p.60]

A comfortable listen, occassionally diverting, but by no means a groundbreaking album. [May 2008, p.51]

Despite their pop savvy, it's a surprisingly difficult listen. [Sep 2012, p.57]

It's surely his finest recorded hour to date. [#230, p.61]

It might sound unbearably contrived, but the combination of crystalline guitar, sly time signatures and Kinsella's stream of consciousness lyrical musings makes for an unexpectedly coherent whole. [#229, p.68]

Oui may lack songs as vivid as those found on the [Sam] Prekop and [Archer] Prewitt records, but it has enough charm of its own to recommend it. [#201, p.63]

Clams is one rap's most distinctive producers, pushing his vocal collaborators to new emotional depths; but as an instrumental electronic producer, that choice is muddled by a sea of similarly charged chillwave types. [Jun 2011, p.60]

Lux is OK, while it's on. But that's all. And that's a shame. [Jan 2013, p.64]