While the intellectual territory is familiar, it's explored with similar playfulness and ear for inventive juxtaposition as Papaich's fellow city dwellers Matmos. [Oct 2015, p.50]

“Exactlyfourminutesofimprovisedmusic” is one of the highlights on Blow, not least because it toys so wittily with ideas of genre and song versus freedom. [Jan 2019, p.70]

Merging a sophisticated rhythm dynamism, often with an almost gamelan aspect (“Two Flames Burn”) with a Laibachian apocalyptic proclamatory element and 90s crossover rave-electronic-industrial urgency, Disturbance may not be entirely different from what Test Dept were doing a long time ago, but, then again, nor is the political context in which they’re doing it. [Mar 2019, p.60]

The bouncy yet deadpan Italo energy of first single “The Girls Are Chewing Gum” sets the tone, with cosmic blasts and ray gun bleeps lending variation to the subsequent tracks. [Jun 2019, p.49]

There’s a silliness and lightness to CEL that is often charming, but can stray into tweeness, and its lack of a deeper pull doesn’t necessarily warrant repeat listens. An interesting conceptual exercise but unlike a lot of the krautrock it is reminiscent of, nothing to stir the heart or body. [May 2020, p.50]

On Jinxed By Being, both Chasny and Shackleton find a collaborative meeting point where sound complements their respective aesthetics and bodies of work, while moving them towards something thrillingly new. [Aug 2024, p.59]

While opening track "Echo In The Field" evokes Laraaji's Day Of Radiance, Moran's compositions here, while still intricately crafted, are more prickly than expansive. Second track "Prism Drift" is tetchy clockwork sprung with piano bass strikes of doom.[Nov 2025, p.63]

Sadier's faith in the replenishing properties of silence has reactivated her production line of perfect pop miniatures. [Jul 2012, p.62]

McGuire creates a journey that will absorb and transport any listener willing to let its sincere warmth and good wishes into their hearts. [Feb 2014, p.54]

Back On Time does reek of that era (1990s) rather than more recent productions trying belatedly to push the same buttons. [Mar 2012, p.68]

A polished version of the group’s classic style propels this concept, but their invigorating eccentricity disintegrates as the album progresses. The opening title track feels familiar, with its quintessential electric riff, but this vibrancy quickly breaks down with songs like “Reduced Guilt”, whose tense harmonies drive a constant sense of unease. The record feels rote for the band, until it reaches its enigmatic conclusion. [Sep 2020, p.49]

Its stark, frosty textures recall the Metalheadz-influenced feel of Pinch's recent solo work, an aesthetic that occasionally, especially on "Precinct Of Sound," threatens to tip over into sluggish moodiness. At best it's just as deft and cosmically heavy as you'd hope. [Mar 2015, p.52]

There are signs of eclectism creeping in, but these are balanced by the group's tendency to consolidate its progression with a rearguard action of sheer brute force. [Jul 2010, p.56]

Sound stretches and stretches without ever threatening to crack, and you start to long for some crude and rude collisions; a belch, a digression, a protest, an accident... [Machine guns blasts in the second half come] too late, and too orderly. [Dec 2011, p. 63]

With her second full-length album MHYSA has curated a minimalist smorgasbord of experimental arrangements, classic R&B tropes and seductive melodies, blending to bring the raw, naked emotion of the artist to the fore. [Mar 2020, p.52]

Pioulard's work is a remarkably effortless cohabitation between bedroom electronics and wistful songwriting. [Dec 2008, p.64]

The Loud Silence builds tracks up from small, wiry gestures. [Oct 2015, p.62]

Most of SremmLife II’s successes are confined to its front half, but the brothers have a strong enough pop sensibility to reward your attention even when they’re on autopilot. [Oct 2016, p.65]

It's a pity that the albums is slight, with five songs, one of them a minute-long interlude, in just over half an hour, and settles for revisiting a sound Carlson knows rather than anything more daring. [May 2018, p.44]

Eno's striving nature and his ability to morph sounds, alter moods and conduct psychoacoustic experiments still yields weird and enjoyable fruits here. [Jan 2017, p.64]

An album whose fragmentary and ephemeral structure is mirrored in its often ethereal, distant sound. [Mar 2013, p.54]

A mid-1970s Tangerine Dream vibe is more apparent than on previous Noveller albums, albeit still further removed from the trappings of rock music per se, and it largely comes off as a soundtrack in waiting for a film in which a hard-up community of 19th century nomads travel slowly across an arid plain. [Aug 2020, p.64]

As on their first album, he [Jim Jarmusch] blows gusts of electric noise through the open spaces in van Wissem's patiently articulated structures. [Nov 2012, p.67]

The song structures have clearly absorbed a fair amount from EDM, but the formula of walloping percussion and synthesizers purloined from Depeche Mode's and New Order's darker moments, juxtaposed with lyrics that have the rung of obscure slogans, remains in place. [Mar 2014, p.58]

It's a dated sound but they stick to it with the tenacity of musicians who can't do anything else. [Mar 2013, p.50]

The Blow excel at cold wave beats and detached machine pop. But much of this sounds a bit too defeated, or needs some more of their nicely weird online humour to offset the gloom. They sound stronger and more substantial on the souped up “Get Up” which embraces its own Debbie Downer side and promises “I want to come through, persist/ I’m going to form all my selves into the shape of a fist”. [Apr 2018, p.50]

On his fourth album, he seems to be wrestling with how to modernise his signature blues and roots foundation without minimising its traditional elements. Parts that would work better with stripped down production are overproduced with the layering of background vocals, keyboards and added sound effects, making the music too rich for the message. [Jul 2018, p.48]

“Casino High” has all the makings of a future garage summer banger. It’s skippy and infectiously danceable, employing vocal samples in a thoughtful way. The first of three collaborations on the album, “Real Hot N Naughty” (featuring actor and performer Felix Mufti) is a love letter to queer dancefloors. Flirting between trance and less chaotic hard house, it injects a tongue in cheek dose of fun into proceedings. [Jun 2024, p.61]