A sound thrumming with bold analogue synthesizers and beefy rock drums. [#254, p.67]

Sometimes the album feels more like a document of studio experiments than a collection of fully realised, narrative-driven compositions, but they remain remarkably effective at imposing similarly conflicting emotions on the listener as on Herndon's avatar.[Dec 2012, p.65]

He doesn't sound very dangerous. Just glad to be out. [ Aug 2012, p.55]

Nothing has afforded him unlimited space to recalibrate after a period of upheaval and loss. [Nov 2015, p.45]

A perfectly pleasant pop record that at its best recalls the likes of Glassjaw (“FKA World”) and Hurl. [Oct 2023, p.56]

Extra Playful lives up to its title. [Oct 2011, p.63]

These are effective dancefloor tracks that contain secret burdens o f menace or anxiety. [Dec 2012, p.68]

Garden Of Delete feels more like an audio showreel than a traditional album. [Nov 2015, p.51]

Abstract hiphop-heads might be turned off by the slick machismo, but others will have some good dirty fun. [Oct 2011, p.65]

Marshall’s electronic, krautrock-ish backing tracks extended what Lanegan had previously laid down on previous albums Blues Funeral and Phantom Radio. Gargoyle however has more of an early 1980s UK electronic rock feel, with Lanegan’s rough vocal rasp sawing through musical timbres reminiscent of what was being played out at Manchester’s Factory. [May 2017, p.47]

The desire of the group to progress feels palpable here. [Nov 2015, p.55]

Patten's ability to conjure such urgency with out ever slipping into anything so easy as a typical groove goes some distance. [Oct 2011, p.65]

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]

Gloopy Aphexian synths add a heady, after-hours quality to his itchy drum patterns, but the takeaway moment comes on the rather different closing track “Phosphorescence”, an endless plateau of serene deep house laced with jazzy keys, Mike Banks style. [Dec 2019, p.54]

His melody lines never go where they should; there is pattern here, but not he expected resolution. [Nov 2015, p.56]

The beats are straighter and more polished, and a degree of shine has replaced bedroom-engineered grit. [Dec 2012, p.75]

No More Normal showcases UK talent proudly, but bringing so much of it together, loses some of the character that might attract new listeners to UK music. Reaching for the historical weight of Soul II Soul, it ends up with the easy going vibe of The Brand New Heavies. [Apr 2019, p.59]

Totem is a pensive and heterogeneous offering, with glitchy and glittery textures, wandering melodies and echo. [Aug 2012, p.58]

It's a Mark McGuire record in the way he plunges into all his personal enthusiasms and arrives somewhere more interesting when he comes up for air. [Nov 2015, p.56]

Dance album of this level of consistent quality are rare. Yet ultimately, no groove in this album particularly reach out and little new, different or memorable is offered for the imagination. [Oct 2011, p.65]

A streamlined combination of motorik rhythms, electronic textures and tuneful choruses. [#242, p.72]

There's a lot going on and while he never rises to anything as wakeful as a melody or a solid riff, there's still a satisfying level of control that keeps him two steps away from the minimalism plus heavy effects tendency of similar acts. [Oct 2011, p.65]

The record crams a ton of sonic and thematic ideas into a small space and yet show almost no visible stitches. [Oct 2011, p.66]

If Boy falters, it's toward the end, where out of three softer focused tracks, only "Danceland" charms its way into the memory. [Mar 2014, p.53]

There's a much larger keyboard profile on this new album.... Whether this is a positive or negative shift depends on where you're sitting. [Apr 2013, p.48]

Retaining his passion and knowledge for psychedelic music in all its multifarious shifting forms, together with a long incubated yearning to steer his guitar sound in the direction of Jimi Hendrix, on Little Eden Saloman intermittently flashes back and storms straight ahead with a honed set of crafted songs and short-fused acid/garage rock explosions. [Sep 2021, p.62]

The emphasis now is on the delicate interplay between acousitc guitars, and vocals which sound somewhere between Jonathan Donahue and Syd Barrett. [#221, p.66]

Krlic combines a flexible approach with an impressive deftness of touch, and Excavation sees him feeling out new ways through the shadows. [Apr 2013, p.50]