The rest offer artful and discerning combinations of a number of genre hallmarks, making for a smooth and modern drive. [Oct 2012, p.74]

Over melodic, it sounds like it was made by a TV composer working to a brief for a rave episode. [Apr 2015, p.65]

That persistent footwork pulse holds the album together, preventing it from dispersing into a grey stew of genres. [May 2011, p.53]

The whole album has a distinct and mothball-smelling late 90s vibe, the parts gelling with a certain clunkiness that characterised their last album Low Impact, as if the two were taking a vacation in their own pasts. Like other people’s holidays, it isn’t always as fun for the onlookers as it may have been for them. Nevertheless, Analogue Creatures features some genuinely lovely work. [Dec 2016, p.60]

This is a visionary coming into his own. [Sep 2013, p.56]

Modern production simply won’t allow for the kind of warm frictive depth in the low end or biteable chunkiness of beats those albums revelled in--but as a dazzling showcase for Bootsy’s still-ill skills it’s great, always problematising what could be politesse with the sheer deranged drive behind Bootsy’s shades, always plumbing for excess as a watchword. [Nov 2017, p.54]

The novelty of hearing synths act like drums definitely helps, but the record also contains just what you might look for in any solo improvisation. [Jul 2012, p.65]

It’s an abstract, often harsh, sometimes silly listening experience. [Apr 2025, p.56]

This particular experiment has left a formerly unpredictable group sounding as though they've been replaced by a bunch of tired retromaniacs. [Apr 2013, p.61]

This 21st century Berlin sounds more muscular and dangerous, but not without a certain delicacy either. [Nov 2008, p.68]

Introduction serves both as a reminder of Thompson's often overlooked sense of humour and an exploration of certain cliches endemic to the pop song, but most importantly, it just rocks. [#266, p.63]

Another thunderous slab of delicious sub-Sabbath riffage with guttural-via-brattish vocal on top. [Apr 2016, p.60]

The music is sungura, an upbeat modern pop relative of chimurenga, but the Gonora Sounds take on the style is somewhat more rugged that most. Isaac’s drumming is a downpour of rolls and patters, while his father’s guitar drips cascades of fireflies. [Feb 2022, p.60]

Like most blockbusters, TM103 lacks some subtlety and depth, but is nevertheless preposterously entertaining, almost unerring anthemic stuff. [Feb 2012, p.71]

The record slips easily into a catalogue that is consistent with the familiar John Maus aesthetic, which will no doubt satiate a voracious fan’s appetite for music that exists outside of time, always and at once. [Jun 2018, p.62]

Widow City is endlessly enjoyable, yielding new detail every time you slip through its song mazes. [Oct 2007, p.59]

It's clear... that the quartet... are growing in confidence and ideas. [#256, p.54]

The track ["Power Circle"] and the entire album seems to lose its air after he [Gunplay] makes his exit. [Aug 2012, p.59]

What's striking is that he's less wacky than he's ever been, instead pursuing a rougher, more complex sound. [#208, p.66]

As a political manifesto, Rawar Style is somewhat vague, yet The Eternals' impulsive, improvising music has anger, zeal and humour in its very DNA. [#245, p.56]

This music is rebarbative glitch-puke, circuit-bent footwork with the joy scorched out, every now and then blitzed by what could be described as intelligent gabba. [Sep 2014, p.54]

Cave and Ellis have created a brave and fittingly incongruous score. As a standalone album, however, it doesn't walk so tall. [Jun 2015, p.45]

Hendrix’s collaboration with Stephen Stills on the Joni Mitchell penned anthem “Woodstock” is one of the album’s standouts, as they push the song further out than Crosby, Stills, Nash & Young could ever have imagined, while Johnny Winter on “The Things I Used To Do” sounds like the boy got moonshine on his fingers and pain in his heart. [Jun 2018, p.72]

Trap Or Die 3 is a uniformly strong effort. [Jan 2017, p.77]

There’s a food theme to this super light and easy but lushly layered 1970s and 80s themed reverie. [Aug 2019, p.66]

There are many memorable tracks here, but you still can't help missing the scratchy textures and humid atmosphereics of "Maxinquaye" and "Pre-millennium Tension." [July 2008, p.60]

The new Infamous is good enough, another in the sting of solid but unremarkable rehashes of the original formula that both members have been trickling out for years now. [May 2014, p.74]

The astonishing thing about Deap Lips is that it sounds nothing like either constituent band, though Troy’s nasal vocal sometimes gives it away. [Sep 2020, p.52]