Bassist Haz Wheaton and drummer Richard Chadwick provide the solid underpinning, while Brock's knack of fashioning and delivering strong melodic and verbal hooks is plentiful in evidence. [May 2017, p.46]

Hallucinogen moulds diverse influences together into a perplexing whole. [Dec 2015, p.51]

Much of the music here is a return to past form, and a move away from the more polished recent albums. [Dec 2013, p.58]

There are many memorable tracks here, but you still can't help missing the scratchy textures and humid atmosphereics of "Maxinquaye" and "Pre-millennium Tension." [July 2008, p.60]

From the bottom of a spring-reverb well, Harris strums mournful, incoherent songs like "Vital" and "being Her Shadow," but intersperses them with creepy textural mood pieces. [Feb 2013, p.50]

Big Joanie have developed immeasurably since their debut and it’s a joy to see them, if not quite reaching their full potential, then imparting a genuine sense of what that fulfillment might entail. [Jan 2023, p.62]

Ten is forever on the point of falling apart but somehow doesn't. [#241, p.55]

The accompanying booklet is richly illustrated with pulpy paperbacks and other artefacts of the shadow side of hippie spirituality. In his quirky accompanying essay, curator Martin Callomon assures the listener that there’s much more where this came from, in the form of a playlist on the accursed music streaming platform Spotify – undoubtedly the most unholy thing about this entire affair. [Sep 2024, p.65]

Melnyk could use a bit more genuine mystery and less self-importance. [Dec 2015, p.52]

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]

They most definitely lack a soloist. Yet the way in which these sunkissed survivors pull together is touching. [Jun 2012, p.42]

This is a good record. It's probably the best record by a group named after a situationist art installation you'll hear all year. But I'd be surprised if it came [on] top of any other list. [Feb 2016, p.48]

The production has remained faithfully jagged and abrasive, where a trebly and bass-starved sonic narrative enforces a fresh take on what continues to be intense and difficult listening. [Apr 2019, p.50]

The first half of the album presents a disparate sequence of songs, the punky “I Want To Tell You About Want I Want” mixing with a rather laboured piece about Virginia Woolf’s and Sylvia Plath’s suicides (“Virginia Woolf”). ... This second half finds Hitchcock at his most purposeful. [May 2017, p.46]

Good, clean fun. [Oct 2008, p.71]

The album’s eight tracks meander, but they never get lost. “Basin” for example sounds like Brian Eno’s Music For Airports might if it were scaled down to be played in an apartment hallway instead of a spacious terminal. [May 2023, p.51]

Even if the music remains fairly consistent, the concepts mark off more ambitious territories. [Oct 2011, p.60]

It takes a while to get on Friedberger's wavelength.... But his sheer love of a good tune is seductive. [Dec 2012, p.63]

Where Tuttle takes a more detached standpoint he’s less successful. Perhaps attempting to mimic corporate blandness, “Cambridge Drive Shopping Centre” mixes field recording of shoppers with a dogged guitar motif to fast diminishing effect. For the most part however he keeps cynicism at bay, a welcoming guide to his kingdom of everyday beauty. [Jul 2020, p.53]

Every Open Mike Eagle solo album reliably unfolds like a tear-stained indie comedydrama. Neighborhood Gods Unlimited is no exception. .... “I dropped the cellphone, and it got ran over”, he says on “OK But I’m The Phone Screen”, just one of several nice twee bops. [Aug 2025, p.62]

Though some of the genre mixing does feel abrupt rather than fully integrated – for all its charms, “Asha The First” is a bit overstuffed – the album largely works, unified by Washington’s unwavering vision and exploratory spirit. [May 2024, p.58]

This compilation gives voice to many lesser known artists who sang of the elation and estrangement of moving from the dirt tracks to the streets. [Aug 2012, p.44]

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]

While as bracing as ever, this sound is less striking now, and the album sees Psutka creating solid but less remarkable grooves. [Feb 2015, p.56]

The album encompasses a wide range of moods. [Sep 2021, p.55]

The best cuts come courtesy of Chi-town's Soundtrakk, whose Native Tongues love knows no bound, while newcomers Chris & Drop provide notably solid beatwork for 'Gold Watch.' [Apr 2008, p.71]

Jimmy and Swae kick gleeful and indistinguishable spring-loaded raps about nothing in particular. [Feb 2015, p.57]

His maniacal energy is infectious. [Nov 2008, p.77]