St. Catherine departs from the lo-fi meditations of earlier releases to explore a fuller bodied sound environment where structures are tighter and colours less smeared. [Sep 2015, p.54]

Glasper is undoubtedly a class act, but the lacks the wildness a Madlib or a Flying Lotus might have brought to this project. [Jun 2016, p.54]

Closer works best instrumentally, as a sonic depiction of the mind, as a dark voyage into inner space. [#236, p.64]

At the heart of Rain On Lens, [Callahan] comes clean for the first time: Smog is subjective, not omnipotent. Hardly a psyche stripped bare, but at least it's a start. [#211, p.65]

Displays more intellectual rigour, subtle discipline and attention to detail than many of their younger contemporaries can ever dream of attaining. [#235, p.56]

Though primarily centered around Sweet's songcraft, Burnt Up on Re-Entry benefits from the judicious incorporation of primitive electronics. [Feb 2013, p.58]

This is digital music with great big jammy thumbprints smeared all over it. The little glitches that patter through any one of UNIEQAV’s 12 instrumentals present the human at the heart of the machine.

Closer Apart is a dazzling bilingual synth pop album that blends the wavy bass and beats of kwaito and gqom with postgrime and UK funky. [Aug 2018, p.58]

There’s a lot to unpack, endless fun to be had cataloguing his references from Three 6 Mafia to Octavia Butler, his consummate brilliance as a wordsmith and architect of flow. ... But it gets monotonous quickly. [Nov 2019, p.52]

The feeling of opiated depressive inertia that weighs it down is compounded by the sugary viscosity of Danger Mouse;s production. Yet it's these slower songs, shaped by Linkous's Country-inflected enervation and Danger Mouse's attention to sonic detail, that work best, while the more up tempo, rockier tracks come off as perfunctory. [Jul 2010, p.53]

As awkwardly beautiful as much of dark Comedy is, it's such a tricky album that it is a difficult to warm to. [Aug 2014, p.62]

Occasionally the album misfires. [Mar 2014, p.59]

Only one track matches the flaming cannonball energy of their single, "Politicians In My Eyes"; the herky-jerky "North Street," which is as much funk as punk. [May 2014, p.77]

There Is No Year is a mixed bag of disparate musical styles, played out as an intelligently composed accompaniment for Fisher’s complex political rhetoric. [Mar 2020, p.58]

Valentine has gotten undeniably skilled at being slick; even at its weirdest, this record is quite easy on the ears. ... A welcome tonic. [Apr 2022, p.51]

Perhaps this recording isn't the best way to experience it, then, but, it whets the appetite for an UK performance scheduled for early 2015. [Jan 2015, p.75]

The second set might not be as powerful as its predecessor, but the milieu it conjures is still engrossingly evocative. [May 2012, p.61]

Here Before picks up as though they'd never left. [May 2011, p.50]

It works best when blended with his more adventurous tendencies. [Nov 2011, p.64]

The album doesn't wear so well over time. [Mar 2013, p.50]

On some of the songs Langford’s slightly rough and ready approach is the grit that helps produce the pearl; on others it’s made to sound out of place by the very musicians who play his songs so well.

A fascinatingly fractured yet whole album, it is the sound of a man not only investigating but celebrating the full cultural spectrum of his existence. [Apr 2017, p.51]

Laced with a shot of self-doubt that has it coming on almost like an electroclash Exile On Main Street. [#244, p.69]

It has a few surprises and sharp edges, but the structures are unstable. Like the post-rock improv of Aethenor, occasional bolts of energy strike and convulse the players. In its second half, however, 13 finally picks up momentum. [Oct 2016, p.60]

The mood of the album is always upbeat, ending with the forward looking “Vorfreude 2”--the German word meaning an anticipation for future pleasures--and doesn’t venture into any of the weirder, harder, filthier, squelchier corners of electronic music.[Nov 2017, p.66]

What makes Knuckleball Express slightly different from previous Hex albums is that the songs seem slightly straighter, though it’s a matter of moments before the apple cart is upset and a whole packet of noodles is scattered over the mix. [May 2020, p.52]

On occasion, stupidly fun. [Sep 2015, p.44]

As stylistic cross-fertilising vanity projects by rock stars of pensionable age go, this one has bags of charm at least and is eminently listenable. [Jan 2013, p.65]