Superficially, Lovage is a continuation of the Handsome Boy Modeling School aesthetic that collides HipHop, rock and electronica into an ironic hipster epic. [#213, p. 59]

Banned is brimming with great ideas and fascinating sound – moments of gorgeous melodicism and soulful playing, all dressed in vivid sonic poetry. Lightman and Jarvis’s voices blend, stack and play off each other beautifully. [Aug 2021, p.58]

Extra Playful lives up to its title. [Oct 2011, p.63]

Every lick of synth, guitar or bass, let alone the vocal lines, is an earworm. [Nov 2014, p.63]

The slippery polyrhythmic music is a difficult terrain for MCs to conquer. [#253, p.57]

Ready To Die, in essence, a solid hard rock album, with all the good and bad that implies. [May 2013, p.59]

This extended incubation period has paid dividends. [Nov 2010, p.65]

[He] sticks to the basic formula: modernizations of the sort of proto-trap Memphis riot music that defined his early career... but never transcendent. [Nov 2013, p.66]

It's on tracks like the ethereal, 15 minute "Oh Shadie" where the group's acid washed sound really takes off. [#232, p.74]

A return to form, of sorts. Shifting from the dappled sunshine warmth of the psychedelically swamped “Away From You” to the black stoner sludge orgy that is “Shadow Of Skull”, the direction guiding LφVE & EVφL twists and turns like a bucketful of electric eels. [Dec 2019, p.43]

The unit sound tight and integrated. [May 2012, p.62]

This is Pole at his most expansive and communicative. [#233, p.69]

It's carefully constructed music that makes few demands but rewards close attention. [#244, p.69]

Earth Junk won't top any end of the year polls, but as another clue in decoding exactly where Hagerty is heading, a scrap with which to re-assemble a much bigger picture, it's essential. [Sep 2008, p. 51]

On paper, it's a strange fit. On record, too. [Jul 2013, p.52]

The jazz moments here are thin, singsongy, almost marcato melodies. [Oct 2012, p.64]

Abstract hiphop-heads might be turned off by the slick machismo, but others will have some good dirty fun. [Oct 2011, p.65]

It all makes for an album which is strangely boring; the baroque detailing becomes an inaudiable blur. [Dec 2008, p.65]

Sadly their rather airless space rock doesn't really lift off beyond a certain Ambient politeness. [#244, p.66]

Not enough of Drukqs confidently breaks new ground, and too often James falls back on the all too familiar dysfunctional jitterbeat which has typified Aphex output since 1996's Richard D James album. [#212, p.55]

As it is, Have Fun With God is never less than listenable but seldom more than vaguely pleasant. [Feb 2014, p.44]

Not a satisfying record, nor a fully rounded one, but one that suggests so much future exploration. [Oct 2018, p.56]

Musically, Ace Of Cups remains more or less faithful to the instrumentation and stylistic idioms of the place and time in which the band formed. ... Other songs on this sprawling debut tend toward the folksy, bluesy and disarmingly earnest. [Feb 2019, p.55]

Possibly their best.... Brave, bleak yet compassionate. [#225, p.77]

Crazy, tender and occasionally corny, Rundgren remains defiantly unpredictable. [Jul 2017, p.60]

Far from consistent, its best tracks are those unconcerned with hooks or choruses, maintaining a stealthy pace but humming with all the frantic, pristine detail of the best Future tracks. [Dec 2017, p.64]

Ultimately there's more to gnaw on here, and for all his admiration of astral jazz, the album title is apt. Ras may be gazing up at the stars, but there is solid ground beneath his feet. [Sep 2011, p.56]

Sadly few of his spiels impress solely on the strength of their content. [#235, p.55]