There's the sense that the group are holding back a little. Some tracks just don't quite work on a visceral level, as dance or as forcefields of conflicting elements. [Sep 2013, p.51]

Armed Courage, while enjoyable, isn't really a record anyone's gotta hear. [Sep 2013, p.50]

EBM equals R Plus Seven. [Sep 2013, p.49]

Even though there are no drums, nothing here ever feels aimless. [Sep 2013, p.48]

His voice retains a high pitched vulnerability, but the urgency of his reports from the flipside of hippiedom have softened into the sound of someone more comfortable with their place in the universe. [Sep 2013, p.48]

When things do coalesce, and the absurd merges with the moving, Tonight You Look Like A Spider plays some mart, unpredictable tricks. [Aug 2013, p.60]

This is her most effective project to date. [Aug 2013, p.60]

It's seven tracks whip by in a 35 minute blur, with only a dew isolated moments sticking out. [Aug 2013, p.57]

A series of one-dimensional tracks, produced by Dean Hurley, that at their best sound like a karaoke outsider artist running though some vocal exercises. [Aug 2013, p.54]

The result is an enriched soundworld, more ambitious than her much discussed debut, Tragedy. [Aug 2013, p.53]

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

In its favour, the album is immaculately realised, with a chromium production sheen that Lustmord imitators can only dream of. On the minus side: the fact that the album's polish makes it sound safe and predictable. [Jul 2013, p.69]

The Moths Are Real is a crisp and atmospheric set of idiosyncratic and finely crafted pop songs. [Mar 2013, p.60]

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]

Musically, the songs favor stripped-down and straight ahead garage rock production values, often driven by organ chords. [Jul 2013, p.65]

Glynnaestra feels like the project has moved beyond causal collaboration into something fully formed. [Jul 2013, p.56]

Songs like "Brainfreeze" and "The Red Wing" plod more than march, piling on so many competing keyboard layers that the melody blots itself out. Others seem oddly unfinished. Only the two closing ten minute tracks evoke the classic Fuck Buttons widescreen neon pomp. [Jul 2013, p.56]

The refreshing result being space music that is neither soporific nor dystopian. [July 2013, p.54]

Congo Natty always brings confrontational or cultural elements to set the context of the tracks. [Jun 2013, p.48]

It's far from perfect record--the guests are phoned in, the beats sometime out-cheese pre-breakdown Kanye at his cheesiest--but it has more than a few perfect moments. [Jul 2013, p.68]

Largely Chewed Corners has the sound of an artist at complete ease with a vocabulary built over 20 years and its parameters. [Jul 2013, p.67]

A whole album of these bolts would be nuts, in a good way. [Jul 2013, p.66]

It's the multilingual, mulch-direcctional, half sung, half spoken vocals that really make The Visitor though. [Jul 2013, p.66]

Crackle and hiss are still in evidence, but the effect is toned down, and less suggestive of sonic patina than of the hostile climate of a world far removed from the languid, sun-dappled pools and rolling vistas suggested by 2005's The Campfire Headphase. [Jul 2013, p.53]

This is perhaps the group's most straightforward release outside of their intermittent collaboration with late vocalist Ronnie James Dio. [Jul 2013, p.52]

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

These New Puritans feel better equipped than most to carry that mantle, a vision of English pastoral music heavy with stoicism and solitude; both steeped in, yet strangely unencumbered by history. [Jun 2013, p.55]

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]