Jenssen can't maintain the balancing act throughout Departed Glories and only really pulls it off intermittently. But when he does it casts a lovely autumnal light somewhere between Folke Rabe’s pastoral minimalism, Andrew Chalk’s haunted pools of tone, or even the lambent string arrangements of Debussy’s Jeux. [Oct 2016, p.48]

The music still nods to Broadcast in its gothic otherness, and the basic format of analogue synth driving the bass, drums and vocals is unchanged. But the sound is more structured, more--gasp!--song-like. Unfortunately the production is imbalanced, rough and thin. [Dec 2018, p.59]

It’s definitely a mixed bag, but pays off with “The Dawn” in which Lipstate’s guitar exhales in tandem with a spoken admission of small hours frailty. [Dec 2019, p.53]

What we get is Youngs in troubadour mode, singing over sine waves or accompanying himself on acoustic guitar, [Oct 2013, p.54]

Compact but effective EP release. “Mandrill” buzzes with metallic heft and 8-bit zips; “Capuchin” breaks into a melody that practically bounces. Gore is obviously having fun here. [Mar 2021, p.63]

While he operates in similar sonic territory to Ariel Pink, Mondanile is as disarmingly gentle as Pink is strutting and cocky. [Nov 2017, p.67]

For every track that delivers the expected, another does something quite extraordinary. [Oct 2008, p.72]

Has a lot more of SF's itchy electro-Techno fizz than it does 'proper' HipHop beats. [#231, p.75]

It has that out-of-time, sketchbook privacy of so much current home-recorded memoradelia, but it also has a grit or grain to it--cheap Xerox rather than woozy VHS wobble--which is strangely refreshing. [May 2011, p.53]

It's as arch, infuriating and entertaining as the duo's name would lead you to expect. [Jun 2012, p.46]

On tracks with genuine maverick talents like E-40, his fundamental lack of character appears (or disappears) in sharp relief. [Apr 2015, p.65]

Pissing Stars sees his songwriting separate more fully from the motherships of Silver Mt Zion and GY!BE, skirting new fringes only a solo artist could reach. [Mar 2018, p.52]

Things get weird and heavy with “Gimme Bread”, tense orchestral gestures and disorienting delay effects almost completely obscuring Longstreth’s lyrical allusions to hunger and scarcity. When the arrangements breathe, as in the woodwind-kissed simplicity of “At Home” or the Mount Eerie-featuring “Twin Aspens”, the album achieves a fragile grace. [Jun 2025, p.50]

Attention Please is more of a shuffle than a giant leap forward, leaving the feeling that we've been here before. [Jul 2011, p.44]

There are many beautiful instants here, but their relentless abstraction also harbours a lingering sense of decorative indulgence. [Feb 2011, p.54]

Ghettoville feels dead, finished, hopeless. If this is, as the publicity hints, an end to the Actress project, then it is a dramatic one. [Feb 2014, p.44]

Youngs’s knack of picking resonant phrases is at peak levels. [Dec 2016, p.66]

The results isn't always compelling; at times the trio lean on cliched sounds--ominous synth tones, for example, or whirring stock effects--that have also crept into previous release. But more often, the pieces on Rainbow Mirror avoid banality through forced patience. The extended track lengths greatly benefit Fernow’s chosen range of sounds and moods. Given the room to stretch and develop, he and his colleagues maintain a level of subtlety throughout. [Dec 2017, p.56]

This may be the first solo Eno work that is entirely without interest. It is bafflingly below par. [Dec 2010, p.45]

Initially sounds nothing special but gradually crawls into your subconscious and sets up home. [#233, p.72]

Adult. proves that there need be nothing fey or even particularly cheeky about synthesizer music. [#231, p.75]

False Idols could be seen as a retreat to his comfort zone, a style he's already mastered, But the terrain he staked out during his days in The Wild Bunch, and later with Massive Attack, was far more fertile than many give it credit for, and its influence resonates through a spectrum of subsequent subgenres. [Jun 2013, p.55]

EX is flawed yet enjoyable. [Aug 2014, p.56]

Bright, booming and unhinged in its musical complexity, Big Mama is electronic music pushed to its most futuristic and utopian possibilities. [Apr 2026, p.58]

A highly enjoyable and entertaining album. [Jan 2020, p.74

There's nothing fake about the record itself, however, and any interpretations of irony will be largely rooted in the audience's prejudices about who and what certain styles of music are for. [Apr 2016, p.46]

A lot of All Worlds could be bundled onto daytime radio playlists without standing out too starkly. .... Echoes of these acts’ more severe youthful excursions shines through on “Akkadian” – an audacious combo of jungle breaks and coldwave verses – and “Dummy”. [Apr 2025, p.55]

Supermigration never quite brings these directions--Air, Lindstrom, Neu!--together though; instead of fermenting their own sound, Solar Bears end up falling into the space in between them. [May 2013, p.66]