This EP, the first in a projected triptych, shows the group in their best light. [Nov 2008, p.74]

Digital Garbage is an honest and oddly selfless document of the time, impressively free from bravado. [Oct 2018, p.59]

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 Light In You is palpably charged with love of music and gratitude for its redemptive powers. [Sep 2015, p.48]

While there's no doubting that Subtle can create, populate and soundtrack a world of their own, it's not always clear whether it was worth it. [May 2008, p.65]

The transitions are typically brusque, though a few feel unsatisfying, creating drops in tension. [May 2015, p.58]

Though there's something inevitably ghoulish about the reception afforded these piano and vocal pieces--released for the first time on vinyl in 2013--it would be perverse to deny that they serve as a curious prologue to Drake the younger's brief but brilliant career. [Feb 2014, p.61]

Largely Chewed Corners has the sound of an artist at complete ease with a vocabulary built over 20 years and its parameters. [Jul 2013, p.67]

Mind Bokeh feels driven by the way recording music allows its maker to home in and hear clearly hazy, unformed ideas as material for the next piece. This at least would account for its restless churn of styles. [Apr 2011, p.69]

Dead Ringers lack the singular vision needed to hold so many digressions and disparate references together. [Aug 2016, p.61]

On the third album by Bishop's trio with drummer Chris Corsano and guitarist Ben Chasny, the [Middle Eastern] influence is more explicit than ever.... "Spiro Agnew" brings the intercultural connection full circle, with an extravagant strut that calls to mind the grand drama that Turkish guitar hero and pioneer of saz rock Erkin Koray brought to his fuzzed out interpretations of lachrymose Arabesque ballads. [Feb 2016, p.58]

There is no fake authenticity in this musical exploration, and Herren's musical palette is impressively wide ranging. [#241, p.63]

Sandoval's overly stylised vocals really start to grate over the distance of a whole LP. [#213, p.65]

Pleasant, yes, but not much more.... Too many of these 'songs' snap off at around the three or four minute mark, just as they start to get interesting.... It sounds consistently half-there. [#208, p.52]

There probably isn't a track here you won't be hearing in some club, park or block party throughout the summer, so you might as well start now. [#245, p.51]

Pablo grips your attention through an attraction-repulsion effect: the attraction largely pertaining to the sonics, the repulsion manifesting almost entirely in the lyrics. [Apr 2016, p.52]

The remixes feel fresh and tight. ... 30 Something is a fitting way to celebrate their impressive body of work. [Aug 2022, p.54]

Susanna's lucid singing shines through the thematic murk, and her instrumental settings are well-defined and ingenious. [Apr 2016, p.58]

[An] overstuffed sound hurricane. [#255, p.58]

Tahoe is a record for after the fall, after the collapse, a compulsive soundtrack for an age that is both post-natural and post-virtual. [Mar 218, p.46]

Throughout this solo effort--his fourth, for what it's worth--Callahan mumbles ever onward like a charmless, tranquillised version of Giant Sand's Howe Gelb. [Apr 2011, p.55]

While sparse guitar contortions made Both a melancholic record, the expanded palette here expresses a more nuanced but equally disarming range of emotions. [Dec 2022, p.58]

It's pleasantly melodic post-punk pop-rock with a handful of less conventional moves thrown in. [Oct 2014, p.58]

The presence of these co-conspirators empowers the songs, but some of the duets are more straightforwardly fun. [Apr 2021, p.64]

The set concentrates on one style and tends to accentuate the crossover aspects of its kinship with house and techno. [Aug 2015, p.55]

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

Sample heavy numbers like "No Secrets No Surprises" would have been standards of Coldcut mixes ten years ago. [#219, p.77]

This mood of rocking-chair wistfulness becomes soporific, and there are times when, frankly, the mind, unjabbed by the sort of stimulus that was once Byrne & Eno's stock in trade, begins to wander. [Oct 2008, p.54]