Chenaux's mastery over his effects is remarkable, but occasionally off-putting. [Feb 2015, p.44]

It's a fair reminder that innovation in hiphop shouldn't be judged by the standards of less journalistic musical forms. [Mar 2015, p.59]

The tempo is seldom above a crawl, and Toure's guitar weaves a crackling bed of thorns that even the typically crystalline over-production can't completely smooth out. [Mar 2015, p.59]

Prekop's approach to synth composition is refreshingly free from pomposity and self-regard, his ego dissolving amid cascades of fizzing electronic sounds and beatific melody.[Mar 2015, p.56]

Nice enough, and the climax of the title track is truly transportive, but no real departure from previous form. [Mar 2015, p.56]

A self-consciously serious, elaborate, capital R Romantic dramatic statement that pulls no punches, more Greek tragedy than break-up album. [Mar 2015, p.55]

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]

Its stark, frosty textures recall the Metalheadz-influenced feel of Pinch's recent solo work, an aesthetic that occasionally, especially on "Precinct Of Sound," threatens to tip over into sluggish moodiness. At best it's just as deft and cosmically heavy as you'd hope. [Mar 2015, p.52]

In C Mali has a delightfully loose and relaxed feel. [Mar 2015, p.51]

Almond just made one of his best records, completely out of the blue. [Mar 2015, p.49]

With its introversion and focus upon the everyday in both subject matter and imagery, the appeal of Shedding Skin depends partly on your appetite for people watching. [Mar 2015, p.48]

The veneer slides aside to reveal more palpable excitement with the arrival of MCs from the UK grime contingent. [Mar 2015, p.48]

This collaboration feels like his most companionable, as he flexes and grouses through many moods, always in the service of the song. [Mar 2015, p.47]

The moody bits are surrounded by so much that is abstract that their affective properties seem a matter of happenstance rather than expression. [Mar 2015, p.46]

It refuses any stylistic centre that might tie together its genre signifiers. [Mar 2015, p.58]

Jimmy and Swae kick gleeful and indistinguishable spring-loaded raps about nothing in particular. [Feb 2015, p.57]

While as bracing as ever, this sound is less striking now, and the album sees Psutka creating solid but less remarkable grooves. [Feb 2015, p.56]

So here they are in 2015 with Apex Predator sounding as powerful and uncompromising as their debut. [Feb 2015, p.55]

Lennox is an innovator and a stylist, impossible to accurately imitate or easily dismiss. [Feb 2015, p.50]

Citizen Zombie is not a refusal. Rather, it's a fully plugged in reckoning with the eternal power of now. [Feb 2015, p.49]

The music shines with solitary delight. [Feb 2015, p.46]

Lost Themes satisfies more than it irks, and it's unambiguously the most enjoyable creation Carpenter has put his name on in probably 27 years. [Feb 2015, p.44]

With Carter Tutti's canny use of space, it's slick as heck--mainstream, almost. [Feb 2015, p.44]

Wow, does it reward your attention. [Feb 2015, p.54]

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]

Although the rest of the songs vary in sugar content and heart rate, the most potent dose of hyper-colour twee may be "Learning To Relax," which sounds like Yacht remixing The Polyphonic Spree for an iPhone advertisement aimed at Junior High students. [Feb 2015, p.44]

Perhaps this recording isn't the best way to experience it, then, but, it whets the appetite for an UK performance scheduled for early 2015. [Jan 2015, p.75]

A hushed treasure. [Jan 2015, p.71]