The sound is certainly has the depth and sheen you'd expect from Laswell. But what's missing is some of the edginess, invention and unpredictability that was Scratch's trademark. [Jun 2011, p.59]

From The Very Depths reinforces the group's reputation as well as showing they are still a force to be reckoned with. [Mar 2015, p.53]

An album of authentic 80s nostalgia that followers of the filmmaker's canon are bound to treasure. [May 2016, p.46]

Despite the lack of actual bass frequencies on Advaitic Songs, Om frequently sound weighed down which isn't the same thing as sounding heavy. [Jul 2012, p.61]

Expectations are, as ever, moderate for Tricky's latest album, and he doesn't disappoint. [Sep 2014, p.60]

All the ingredients required are present: sonic invention, surprise, risk taking, fun and adventure. [Mar 2024, p.56]

It's actually more pleasurable to pick a track at random and leave it on loop. [Sep 2011, p.56]

It's hard not to feel that this dense conceptual flotsam is arranged around a lucuna. [May 2014, p.67]

Iradelphic often feels lost in a borrowed soundworld. [Apr 2012, p.68]

Fans of Anderson's trademark spoken word phrasing, with pregnant pauses, raised eyebrows and question mark endings, won't be disappointed. [#211, p.52]

The production values can't cover for the lack of lyrical pizzazz, [Jul 2011, p.55]

The momentum doesn't dip through the sunny but sinister celebration of "T-Shirt Weather In The Manor," Kano's rapid flow over electronic rowdiness on "new Banger" and the stunning dancefloor swagger of "3 Wheel Ups."... The album peters out after that. [Mar 2016, p.46]

The beats are functional if not flashy. [Nov 2008.p.79]

Their music is an exercise in reductionism: how little does a tune need to be tune? Yet, somehow these non-tunes niggle away till they lodge firmly in the memory tissue. [Jan. 2012, p.66]

Some moments on the Pet Shop Boys' 11th album are as unsettling as any music released this decade. [Nov 2012, p.64]

Nehru is essentially indistinguishable from any number of bedroom rappers clogging Soundcloud with their freestyles to Doom's decade old Special Herbs instrumentals. [Nov 2014, p.76]

It all adds up to a queasy--but pleasurable--kind of time-travel sickness. [Mar 2012, p.67]

As with most of these tracks, the effect is cumulative, and if Co La's modus operandi at first appeared to be almost flippant, the resulting music is inescapably hypnotic. [Jan 2012, p. 52]

There are several memorable songs here, but the offhand, one-take atmosphere makes the project slighter than it might have been. [Feb 2011, p.50]

With more emphasis on achieving that elusive breakout moment than its predecessor and infinitely less grit, here Sway shows little of the infectious individuality he used to bring to less commercial work. [Oct 2008, p.72]

Those who were there the first time round will enjoy playing spot-the-sample on these hyperactive cut ’n’ shuts; for anyone else, it’s a strange one. Inarguably fun, but you’re left scratching your head, wondering why. [Jun 2017, p.74]

Sings Olivia Newton-John is an album nobody asked for but that’s partly what makes it special. Hatfield’s garage-bound arrangements scuff up the squeaky clean originals to likeable effect and she throws herself into the project with gusto. [Jun 2018, p.65]

A definite mixed bag, Pink Bikini is best when its songs feel fully formed in their own right, rather than semi-scripts set to music. [Aug 2023, p.56]

There's nothing on their fourth album that couldn't have been recorded in the early to mid-1980s. [Sep 2010, p.50]

Hexadic blurs limes between melodic theory and personal spiritual working, presenting an alchemy of number as a system of creative liberation. [Feb 2015, p.52]

This is a magical and bafflingly arresting album. [Sep 2008, p.53]

Explicit references to surrealism and Japanese ambient, alongside DJ Screw and Jodorowsky, read as clumsy and uncritical homages to tired tropes and cliches, which ultimately serve a tactless and indulgent end. [Nov 2018, p.63]