Ashin, in giving so much of himself away, leaves little scope for the kind of mystery that might enable his musical settings to transcend their functional pop status. [Feb 2013, p.60]

His arch over-emoting robs his songs of any sense of genuine feeling. [Feb 2013, p.60]

Its balance of electronic, acoustic and vocal elements, while initially impressive, is soon revealed to be a product of the lack of any forceful musical or textual elements at all. [Feb 2013, p.60]

There are occasions when vocal inadequacy can be more emotionally fetching than full-throated virtuosity.... This, however, is not one of them. [#239, p.57]

As per usual after listening to an Oh Sees release, I’m impressed by the execution but left cold and hollow by their studious style. [Oct 2020, p.59]

I’m always holding out hope for more of the genius heard on Doris but it’s unfortunately absent on Feet Of Clay. [Jan 2020, p.74]

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]

Some of street rap's brightest new talents appear--Chief Keef, Young Thug, Rich Homie Quan--and wear their Gucci Mane influence proudly, each in their own distinctively warped ways and yet all brimming with exactly the joy that their progenitor has generally lost to age. [Jul 2013, p.68]

It feels like a self-conscious attempt to approximate jazz without ever quite committing to it, no doubt partly due to the fact that Flea's horn chops are somewhat rudimentary, favouring languid lines that could generously be seen as resembling Chet Baker at his most unbothered. .... It's hard not to feel the project lacks any of the liberatory qualities one would hope for from a genuine jazz statement. [Apr 26, p.50]

The mish-mash of styles wouldn't be an issue if it sounded like Pateras and Patton were surrendering to something other than themselves, but what comes across instead is a desire to demonstrate mastery. [Jan 2015, p.70]

["f=(2.5)"] has a nice queasy seasick vibe, but feels over-egged, with too many ideas thrown at it too quickly. Other tracks repeat this formula with diminishing returns and cut 'n' paste fatigue sets in.... "f=(2.6)" is a lot more fun. [Oct 2015, p.48]

The tracks are curiously undramatic, punching elements in and out like a demonstration reel. [Mar 2013, p.54].

Every knot has been planed away. It's hushed, wistful, 'cool,' acoustic, sweetly dolorous and subtly well crafted... and dull as corrective footnotes in a treatise on ditchwater. [#228, p.54]

The Body’s central drive focuses on heaviness, both as a sonic and emotional motif, and while their creative apex I Shall Die Here demonstrates a logical conclusion of the former, I Have Fought Against It, But I Can’t Any Longer sees the band explore dramatic terror, to limited success. [Jul 2018, p.44]

It's not completely pants, but not great either. [Jul 2011, p.44]

Stripped of the visuals, the seemingly endless succession of minor variations (75 tracks between the two collections) on the same sets of glossy and pleasant synth arpeggios can be at once bitty and overwhelming. [Oct 2016, p.63]

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

Half of the songs here are as good as the highs of the first two albums.... Much of the rest is the victim of Madlib's infuriating tendency to leave things in fragments. [Jun 2013, p.54]

On his fourth album, he seems to be wrestling with how to modernise his signature blues and roots foundation without minimising its traditional elements. Parts that would work better with stripped down production are overproduced with the layering of background vocals, keyboards and added sound effects, making the music too rich for the message. [Jul 2018, p.48]

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

The conceptual core of Vessel’s third album is rather ambiguous. Queen Of Golden Dogs follows a loose narrative of self-discovery and transformation and a couple of queer literary and surreal visual art references. ... Musically, Queen Of Golden Dogs is similarly vague and amorphous. [Dec 2018, p.58]

Stripped of the visuals, the seemingly endless succession of minor variations (75 tracks between the two collections) on the same sets of glossy and pleasant synth arpeggios can be at once bitty and overwhelming. [Oct 2016, p.63]

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]

H-p1 is a slightly more adventurous outing than usual, due to the recruitment of synth player Shazzula, but the additional textures, pleasing as they are, fail to revolutionize what is essentially record collection rock. [Jul 2011, p.58]

His words remain relatively vivid but his voice is old, his stories nostalgic, occasionally tired. A baffling decision to sprinkle a handful of past recordings through the tracklist reveals he can't compete with his own 20 year old offcuts. .... Otherwise he's generally best when choice sparring partners inspire sparks of life. [Jan/Feb 2026, p.83]

Singer's Grave feels like an exercise, something which never be said for the work released under the Palace banner in the 1990s. [Nov 2014, p.72]

Nepenthe pushes the formula to [a] breaking point, where emotional manipulation crosses over into cloying, calculated and claustrophobic. [Aug 2013, p.53]

The impression left by The Hums's buzzing, keys-assisted pseudo-punk is that of a heavier Clinic or even Scottish also-rans Magoo. [Nov 2014, p.72]