A dull, clunky, unjustifiably smug AOR rock album: no more, no less. [#243, p.71]

Evokes the same stark, road weary melancholy as Ry Cooder's score for Paris, Texas, but with a far more extensive sonic toolbox. [#240, p.57]

The posthumous tracks that have emerged are among the best of Hendrix's late work. [Apr 2013, p.50]

Forgoing any temptation to portray herself as an alluring curio, Lafawndah instead pushes a singular yet communal vision, processing a blessedly rich vein of cultural information and cutting edge influence. [Apr 2019, p.63]

Haley retains the analogue wobble of his earlier work, particularly evident on 2010’s Cyanide Sisters and 2011’s Galactic Melt where his crisp and crunchy beats are at their impactful best. But on Persuasion System he’s combined them with stronger melodies and arrangements, elevating their effect from that of incidental, if still effective background music to the gripping theme of a main character. [May 2019, p.48]

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]

A loop can be a grounded, limiting element to work with – the delightfully wobbly “Slappin’ Yo Face” has nowhere to go, quickly running out of steam. Elsewhere this very quality opens up beautiful meditative potential. [Sep 2020, p.60]

While Clockwork Angels is energised and intense, it neither sounds nor feels like heritage rock or a return to first principles. [Sep 2012, p.70]

Most of what they play live here is more serene and thoughtful. Not that Pirog is incapable of letting the sparks fly, particularly on “The Inner Ocean” where he opens up with an electric guitar stormer worthy of Sonny Sharrock. “Crowds And Power” perhaps references Fugazi’s glory days. “The Weaver” subtly winds the album down with Pirog on acoustic guitar and an unexpected flurry of orchestral strings. [May 2018, p.60]

It's a surprisingly luxuriant record. [Mar 2012, p.58]

The P-funk derived style of Dam-Funk us about as perfect a fit for Snoop's supine cool as can be imagined. [Feb 2014, p.57]

Their world is one where the scrambling of senses serves a true psychedelic purpose--to open doors, to facilitate fresh ways of perceiving and, most gloriously, to wonder. It’s great to have (all of) them back. [Mar 2019, p.49]

Despite the celebratory atmosphere, the group's air of menace remains intact. [Sep 2014, p.54]

The results are tougher and less poised, less prone to pastiche or ironic self-identification. But in the process he’s become a bit workmanlike: you feel he could knock these tunes out to order and they’d all be creditable, but not much more. [Oct 2016, p.63]

Lee Gamble’s In A Paraventral Scale makes another step towards a scene that for some has been and gone. [Mar 2019, p.51]

It’s hard to tell if there’s irony in all the anachronism but the record’s nostalgic to the point of kitsch aesthetic feels out of touch. [Apr 2020, p.67]

If anything, she has rediscovered the energy that defined her work with Uzi, Live Skull and Come, pouring imposing defiance into ten rocking cuts. [Oct 2021, p.58]

Now more than ever, political songs need engagement and direct prescription. In that respect Spirit rarely cuts it. But as with many DM albums, it can still resonate in quieter moments such as “Cover Me”, and the group’s continued existence is one of the great love affairs between man and machine in modern music. [Apr 2017, p.56]

This isn't really the future of HipHop, but as a fleeting reverie on its conflicted present, it makes for a fantastic detour. [#217, p.55]

Ultravisitor feels like another work in progress, another messy, powerful, occasionally remarkable, sometimes infuriating attempt to create a true, detailed, authentically multifaceted musical autobiography. [#241, p.52]

However difficult is might appear on first hearing, his music is at once curiously involving and constantly inviting. [#209, p.59]

Just like the great dub albums of the past, this is one that will provoke revisits to the original. [Jan 2012, p.67]

Funky Nothingness is, in any case, an enjoyable addition to his extensive discography. It may not disclose some previously hidden dimension, or even pursue the experimentation with overdubbing that gave Hot Rats its particular character, but Zappa’s sheer love for music and the playing of it, the insatiable essence of his artistic libido, oozes from the grooves. [Aug 2023, p.74]

The pleasures of Reachy Prints are deceptively complicated, and it's another masterclass in how lightness needn't be thin or naive. [May 2014, p.72]

These are worn vintage sounds, but the songs here lack the choruses and hooks to invest them with fresh life, and Buttery's voice is forgettable. [Dec 2010, p.46]

Lindstrøm is better able to keep everything the right side of good taste, for better or worse. This continuous set of eight tracks gets into its spooky stride towards the end. ... A darker second hour might have been even better. [Nov 2017, p.59]

Pram find themselves in a rather difficult position, where it doesn’t seem as if they’ve much room to evolve without changing the atmosphere of the project completely. That said, Across The Meridian tentatively paws at a few new directions even as it remains mindful of the group’s palette to date. [Jul 2018, p.57]

It's doubtful that the official soundtrack for Dredd will be anything as satisfying as this atmospheric homage to the mean streets of the future. [May 2012, p.56]