Human Energy is a rainbow emerging on a clear summer's day. [Nov 2016, p.61]

Although he wrangles these troublesome rhythms with aplomb, at times they bring out a cartoonish tendency that undermines his usual deadly poise. [Nov 2011, p.66]

It sounds like something struggling to be born, and probably not something you’d want to see grow up in your house. [Nov 2019, p.64]

“Sky Burial” gives us a melodic refrain of “I’ve been looking for you” bouncing over phantasmal electronic, squelching synths and a bass that almost clangs with detuning; “Dyma Fy Robot” revels in Metal Mickey vocals and a tumble of discombobulated percussion and trilling birdsong; “Tiny Witch Hunter” tangles helium-fuelled vocals with wailing sax and African rhythms. [Dec 2018, p.59]

Good Luck doesn’t betray Friday’s general aesthetic or artistic persona. On the contrary, it retains her darkly seductive, slightly edgy and risqué aura, but conveys it through a disparate medley of styles. [Apr 2023, p.53]

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

Peeled back from its surrounding hype, The Sciences is a sturdy (albeit somewhat stationary) return to form. [Aug 2018, p.59]

It's the lighter, trickier touches that stick in the head. [Sep 2012, p.56]

This music is rebarbative glitch-puke, circuit-bent footwork with the joy scorched out, every now and then blitzed by what could be described as intelligent gabba. [Sep 2014, p.54]

The Brian Eno collaboration “Here Come The Warm Dreads”, despite having the cheesiest, winking at the camera/self-referential title, coalesces around a regal brass melody and popping rhythm section to created a solidly funky slice of spaced out dub. “Rattling Bones And Crowns” is sharper, darker take on the Rainford cut “Kill Them Dreams Money Worshippers”. [Dec 2019, p.52]

The low end may not cause subterranean trolls to bang angrily on their ceilings as with 1993's Earth 2, but the rich textures and Carlson's expressive leads provide plenty to luxuriate in. [Sep 2014, p.54]

Armed Courage, while enjoyable, isn't really a record anyone's gotta hear. [Sep 2013, p.50]

Suavely assembled big band pop. [#220, p.66]

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]

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 six loose, expansive tracks on this collection offer a glimpse into the more convivial domestic recording scenario the band were enmeshed in at that time. Free from the need to shape these ideas into conventional structures you hear the band at their most Can-like. [Mar 2022, p.52]

Each piece is sturdily constructed, but a loose leaf informality allows the 18 tracks to hang without necessarily hanging together. [Apr 2020, p.53]

Blood Oaths Of The New Blues is a compelling argument for the virtues of grasping what's within your reach rather than grabbing vainly for the stars. [May 2013, p.60]

It should still be appreciated for its sonic density, its sustained mood of dread and the universality of its themes, at least one of which--the condemnation of usurers--is painfully relevant today. [Sep 2012, p.63]

It Should Be Us returns to the lunging bass distortion and nauseous slowed down beats of his instrumentals – the only voices to speak of rising from the churning depths as eerily pitched-down house vocal moans. [Jan 2020, p.73]

As a gesture of positive force, Commune is effective; as an instigator of evolution it falls somewhat short. [Sep 2014, p.59]

It’s an abstract, often harsh, sometimes silly listening experience. [Apr 2025, p.56]

Ready To Die, in essence, a solid hard rock album, with all the good and bad that implies. [May 2013, p.59]

Balance[d] between the exquisite – lines aching with elegant age and restraint, chords feeling bruised and heavy with knowing (“Hymn”, “An Intimate Distance”) – and the slightly underdeveloped (“Bells”, “Innocence”). ... The Turning Year is calming and often very beautiful. [May 2022, p.44]

His music is closer to an upgrade of the wigglier, more luxurious end of Megadog/ Megatripolis 90s clip-on dreadlock rave, or more recently the hallucination holiday postcards of Call Super, than to anything genuinely raw and lo-fi like Kyle Hall, Jamal Moss or Karen Gwyer. [Aug 2018, p.66]

Expectations are, as ever, moderate for Tricky's latest album, and he doesn't disappoint. [Sep 2014, p.60]

Some of the lesser tracks are near indistinguishable from other over-hyped post Hypnagogic Pop projects.... But such fumbles are rare. [Sep 2013, p.52]

Much of the album is soothingly entrancing. [Jan 2012, p.64]