That the album works so well is less a testament of Twigs's charisma and talent--real as those may be--than it is the limitless possibilities of well-paid freelance teamwork. [Nov 2014, p.63]

Shorn of vocals, Xen suffer the same fate as much beloved contemporary beat music, which is a kind of dazzling monotony. [Nov 2014, p.63]

The result is, even more than Blunt's previous work, an enigmatic emotional tenor. [Nov 2014, p.62]

It's ridiculous but oddly moving. [Nov 2014, p.62]

Too often though, and as is almost always the case with live sets, the album is cloistered and airless.... It doesn't so much scourge New York as embody the place it has become. [Nov 2014, p.71]

While it might be hard to hear this music as revolutionary now, there's no denying how commanding and demanding both the tuneful and flat out noisy sections are on modern ears. [Oct 2014, p.70]

So it's Ra the entertainer we get here.... On the second disc the first three tracks take matters further out. [Oct 2014, p.70]

This is warped, tactile and certainly druggy music. However, it's the duo's use of breathless double time flows that vividly replicate the mesmeric metal hum of psychedelics. [Oct 2014, p.64]

Punish, Honey is also a diverse and sonically surprising work, infectiously odd and encouragingly bold. [Oct 2014, p.63]

Koch feels like a merger of the two [Diversions 1994-1996 and Dutch Tvashar Plumes], backsliding into the dance timbres of yesteryear, and their hissy, ever moody dissolutions become predictable. [Oct 2014, p.63]

The intense volume and solemn pace of the music is given extra weight and dimension by Scheidt's extraordinary vocal. [Oct 2014, p.61]

A resplendent albeit slightly cloying selection of meticulously arranged songs, bloated with instrumental detail and performed in a way that makes the sound like a revived soundtrack for some old, forgotten art house movie. [Oct 2014, p.61]

The 11 songs here are energised, chest beating anthems that are positively soul elevating. [Oct 2014, p.61]

Prepare to be enchanted. [Oct 2014, p.61]

It's pleasantly melodic post-punk pop-rock with a handful of less conventional moves thrown in. [Oct 2014, p.58]

Hold It In finds these crusty veterans meeting the threat of middle-age ennui with ingenuity and enthusiasm. [Oct 2014, p.57]

Syro feels like a perfected memory of 80s music. [Oct 2014, p.54]

This is the most elaborately arranged thing Gunn has ever done, jammed full of understated yet excellent guitar. [Oct 2014, p.54]

It's an almost-pitch-perfect progression of eight tracks across 39 minutes. [Oct 2014, p.54]

The result lack some of the swarming, piercing detail and vertiginous shifts that give so much drama to late Scott. At the same time, it mostly does away with that haunts latter-day songs. [Oct 2014, p.51]

This music never lacks for deep roots into Allen's background with Fela's Afrika 70, but it is also fresh in conception and execution. [Oct 2014, p.50]

Though it may not feel exactly pleasurable, it most definitely connects. [Sep 2014, p.72]

He's nowhere near as agile as he once was, but that slack is picked up on a handful of collaborations with sharp young rappers like Lil Herb and Vince Staples. [Sep 2014, p.65]

This new collaboration with London's Heliocentrics admirably recreates a smokey 70s atmosphere. [Sep 2014, p.64]

They sound somewhere between being tentative and caught in a frozen, allegorical state of sketchiness, turning the sleepy head of bedroom pop into a death's head. [Sep 2014, p.64]

Where the album works best is in the loose, mesmerising fluency of tracks where such odd structures loses its slight air of gimmickry. [Sep 2014, p.64]

Endgame is spacey and lush in the manner of Deppechord's roster or Donato Dozzy, solidly crafted and a bit of a drag at just over an hour. [Sep 2014, p.60]

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