Bowles still makes his most emotionally compelling statements with his banjo. [Sep 2016, p.46]

Those nostalgic for the Aphex sounds of old may find them here, but served up rotten and misshapen, as an agreeably queasy warning that nostalgia can only get you so far. [Aug 2016, p.46]

Black Bubblegum is Copeland's most surprising release for a long time; it's also perhaps the most obviously approachable record he has ever been involved with. [Aug 2016, p.48]

On Centres, the songs have a lyrical content that makes their meaning more discernible. [Aug 2016, p.48]

The comparison between [The Disco's of Imhotep] and Ancient Echoes revealing the absolutely consistency of Moss's vision over the years. [Aug 2016, p.50]

Sumac's rock thunder becomes more involved as they sink deeper into their own personal spaces, uncorking emotions and letting loose inner demons, while still fully functioning as part of a group experience. [Aug 2016, p.58]

Promise Of The Real can't match Crazy Horse's lumbering majesty, but their youthful energy and sweet harmonies are infectious. ... The attempts at collage are pretty corny, with crows, pigs and bees all wandering into the mix. [Aug 2016, p.58]

I'd like this to be much more depraved, or just for El-P to fully embrace his Eno role for another solo album of weirdness. [Aug 2016, p.59]

Drumming that starts off in a motoric groove warps into something way more minimal and amateurish, something undanceable, yet difficult to resist at least shrugging along to. [Aug 2016, p.59]

Dead Ringers lack the singular vision needed to hold so many digressions and disparate references together. [Aug 2016, p.61]

This is swirling, volatile music, awash with synths and scorched to a turn by Mulholland's guitar. [Aug 2016, p.62]

An engrossing collection. [Aug 2016, p.63]

Still Brazy is thoroughly and unapologetically regional, but its thematic engines are universal. [Aug 2016, p.63]

Much of Lil BIG Pac concerns his experience behind bars. It would be eerily prescient if the criminal system weren't so predictable. [Aug 2016, p.63]

This intelligently compiled collection brings together the best (and sometime worst) of these mostly forgotten groups. [Aug 2016, p.66]

The songs with less specific and less contemporary references hit harder. [Jul 2016, p.46]

Cinematic, otherworldy landscapes and expert playing aside, there's something else to the album. Anderson flips expectations of where refrains or rhythms might go. [Jul 2016, p.46]

Somewhere in Asphalt For Eden is buried beautiful music. [Jun 2016, p.62]

Built around the usual sluggish grammar of instrumental hiphop, the tracks seems at times to collapse in on themselves, swollen with lugubrious 1970s jazz funk keyboards, strategically aimless organ vamps and miscellaneous concrete samples. [Jun 2016, p.60]

It's just a coarser, clumsier version of the updated industrial bashing of their last album, without the dreamy coronae of guitar.[Jun 2016, p.60]

The line-up sounds tantalisingly promising--but the hoped for bass-heavy meltdown never fully materialises. [Jun 2016, p.58]

Strongly guitar based, their music alternates from being dreamily subdued one second to full on, hair flailing freak out the next. [Jun 2016, p.58]

These processes are slow, sometimes painful and on multiple scales, but with each track and each album, the producer is changing our understanding of sound, data, memory and our own bodies in musical space. [Jun 2016, p.56]

Spalding has always been a prodigious talent, but it's by adopting the uninhibited persona of Emily that the 31 year old singer and bassist has found a truly distinctive voice. [Jun 2016, p.56]

Almost without exception, these 11 tracks lurch along at a donkey's pace that seems designed to signify grace and dignity, while the crystal cave reverb applied with such liberality by Randall Dunn, producer of choice for the likes of Sunn 0))), Wolves In The Throne Room and Earth, seems after the nth track to cloak a more profound problem, which is that much of the material on Strangers is thin pickings. [Jun 2016, p.54]

Glasper is undoubtedly a class act, but the lacks the wildness a Madlib or a Flying Lotus might have brought to this project. [Jun 2016, p.54]

Fool is the stunning debut from a young Dutch producer. [Jun 2016, p.53]

This is a rare gem of an album that projects Kacy and Clayton into the category of all time great folk duos. [Jun 2016, p.50]