Kingdom's debut album is all pop. Not in the formulaic sense, but in its sophisticated amalgam of everything that is skilled and aesthetic from both mainstream club production and underground dance subgenre. [Mar 2017, p.49]

Lateral is far less remarkable than Luminal. .... It’s hard to discern Wolfe’s impact on what sounds like a typical Eno record. [Jul 2025, p.52]

Fall To Pieces exists in this oxymoronic hinterland of nihilism and resilience, evocative of the contradictions of grief. [Oct 2020, p.64]

On TFCF (short for Theme From Crying Fountain) Andrews comes into his own. The tracks might be loosely structured, ideas, samples, field recordings and styles scattered by the dozen across the album’s 33 minutes, but it’s a sense of a distinctive songwriter exploring fracturedness across a broad spectrum from the dancefloor to the introspective. [Oct 2017, p.64]

While the album is pleasant, it takes a long time to open up. And once opened, it's nice, but hardly revolutionary. [#236, p.61]

Car Alarm strips away the exotic and the curious. [Nov 2008, p.70]

The result is surprisingly seamless and the producer rarely puts a foot wrong. [Nov 2008, p.79]

His first Ninja Tune album Providence showcases an altogether darker side. [Apr 2017, p.62]

Two nostalgia trips for the price of one. [Sep 2011, p.62]

It's clear that Bell retains a sure grasp of form and dynamics. Hard to shake off, however, is the nagging feeling that you've heard all this before. [#236, p.62]

Sadly much of Music Is A Hungry Ghost is marred by a pebbledash of clicks and glitches -- that already overused signifier of au courant production. [#207, p.87]

Season Of Earth is music rooted deep in the black, black earth and whose only limit is the blue, blue sky. [Oct 2011, p.50]

Sifting through these hermetic songs is like coming across a cobwebby box of photographs in an empty home. Tiny fragments of narrative emerge, only to be drowned by ambiguity and absence. [Oct 2018, p.58]

The tracks are curiously undramatic, punching elements in and out like a demonstration reel. [Mar 2013, p.54].

This record has its moments, for instance the squarewave basslines and breakbeats of “Edelweiss” and the outro to “Climb Ev’ry Mountain”. However, as is often the case with Laibach, the pervasive air of calculated irony prevents the album from passing from the ridiculous to the sublime, even when it all gets so silly that on paper it sounds like it should. [Dec 2018, p.52]

Cale is producing involving, forward-moving music that still capable of catching you unawares. [Oct 2012, p.58]

There's no point chasing diminishing returns on a four-track, and the buffed-up West is a kick worth revisiting. [Aug 2011, p.63]

Voyeurs of the disintegration of the human condition will be able to gorge on vicarious thrills to their black heart's content. [#246, p.62]

The results are at times brazenly brilliant. [Mar 2013, p.65]

Guerilla Toss’s music is now disarming in its earnest post-digital exuberance and cutesy directness, while a fragile thematic framework holds it all together. In the process of getting here, they traded their convulsive rock progressions for slowly decaying walls of texture and Kassie Carlson’s Auto-Tuned vocals. The effervescent bangers “Live Exponential” and “Mermaid Airplane” are especially awesome. [Apr 2022, p.56]

While perhaps not the triumphant return that many fans have hoped for, the murky and dystopic excursions of 8 Diagrams are uncompromising, visionary and unique. [Mar 2008, p.62]

The album then settles into a solid groove of high end electro pop with just enough dust to keep it grounded. [Apr 2017, p.62]

The song ["Yonder Blue"] is as intricately tied into pop and soundtrack tradition as the rest of the album, but it carries an immediacy that otherwise eludes The Catastrophist. [Jan 2016, p.72]

An interesting example of a performer getting more experimental and simultaneously more studio-savvy, Chenaux has produced his best work yet. [Mar 2012, p.51]

Surrender To The Fantasy showcases the latest stage yet of their oddly trad transformation, the unkempt electric savagery of their past domesticated to the point of extinction. [Nov 2013, p.56]

As the Crow flies has a folkier feel than previous advisory circle releases. [Sep 2011, p.50]

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

More Light is, on the whole, more of what made him great--songs with airhead titles like "Where'd You Go," which stretch glorious guitar solos over solid chopping riffs--but it's packed with too much filler. [#200, p.80]