The cumulative effect of these strange patchwork songs as in the end ambivalent. [Sep 2015, p.48]

A fastidiously crafted and appealingly damp hour of digital earthsong. [#229, p.57]

Guru is... pushing the same grim consistency that makes folks describe Gang Starr albums as 'solid', not budging, not boring, but not better than Moment of Truth. [#234, p.73]

The polished arrangements, alien harmonies and attention to detail that have characterised Stereolab output over the years are all present and to the usual high standard. [Nov 2010, p.60]

Things heat up a bit on “Misanthrope Gets Lunch” and “Oblivion Sigil”, when the shrill bursts from Kyp Malone’s synthesizer and Marcos Rodriguez’s guitar face off against one another like Irmin Schmidt and Michael Karoli of Can did on Delay 1968, but sadly, those are the only flashes of excitement to be found on the release. [Oct 2020, p.59]

In the end, it's the aural equivalent of skyscrapers built out of wattle and daub. [Mar 2011, p.49]

This is a collection of songs that the group genuinely love and it shows. [Apr 2013, p.61]

While King may not be quite as adept a riff craftman as his late partner, the headbanging intensity and shout-along choruses that have always marked their best material are still present. [Sep 2015, p.51]

The hi-hats and furiously brushed cymbals of Badalamenti’s pseudo-jazz cues outline these tracks, along with heavy but oddly affectless arco bass. He performs Lynch’s lines, describing scenes of unearthly violence, banality and menace, as if growling the menu of a New York Brooklyn trattoria. What guides the album away from this rather dated aesthetic, apart from the glaring crispness and pitch-black texture of the mixing, is the quality of the noise. [Dec 2018, p.69]

Exo alternately provokes astonishment at its kitschiness and the sensual thrill of its dazzling inhumanism, but that's probably the whole point. [Aug 2012, p.58]

The Pyrrhic pleasures of their Confield-era tracks00all those advanced-topology rhythmic angles--remain in the first half of "tac Lacora," sharpened by being somewhat tamed, pushed into the pulsing exhilaration of the second half. [Nov 2013, p.65]

Transistor Rhythm is functional and stylistically up to date yet modestly unique. [Apr 2012, p.68]

Names of North End Women is marginally the more engaging of the two albums, possibly due to the previous creative relationship between Ranaldo and Refree. But All Hands Around The Moment actually illustrates most compellingly the contributions of each collaborator. [Feb 2020, p.55]

Lighten up and wallow in aural filth as Siifu and Liv.e preach on keeping shit clean. Allow such a space for the exquisitely sloppy breaks and moans to work their magic and sudden bursts of clarity, urgent insights. [Jan 2021, p.87]

Minimal Rock N Roll is at its best when hinting at former glories. [Apr 2014, p.63]

A genuine sense of danger and trepidation stalks through these tracks. [#249, p.63]

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

The music here is beautiful and involving enough to stand up just fine by itself. [Mar 2014, p.59]

The moments of beauty caught fleetingly in the gaps between over-arranged blocks make for frustrated listening. [#218, p.64]

However hit and miss, though, all of these voices and genre grabs are made to sound stylistically coherent. [#236, p.71]

Soundtracking stellar deeps has become one of electronica's most overworked cliches, but in the easy intimacy audible in this encounter, these Ambienaut vets make it sound like a piece of cake. [#247, p.59]

anyone who buys this with the idea of getting significantly reworked material will be disappointed. [May 2015, p.63]

Her latest iteration that limited palette of vintage machines feels trapped in the past; evocative but ossified. [Sep 2015, p.45]

An album which largely plays assured and empty. Genesis is home to a few brilliant moments, however. [May 2016, p.49]

The Divine Feminine is well-intentioned and well-staffed, but ultimately lacks the sort of specificity in vision that would do its subject matter justice. [Nov 2016, p.61]

A modest effort of just over half an hour. [Mar 2019, p.62]

This is pleasant but forgettable music, dissolving the instant it hits the eardrum. [Jul 2023, p.52]

In spite of the album’s inconsistency, it ends on a high note with the sugary Eurotrance tropes and ear-popping lushness of “Love Me Off Earth”, where guest vocals from New York based vocalist Doss convey an otherworldly melancholic euphoria before being pitch-bent into the stratosphere. [Nov 2024, p.60]