Those expecting a return to the group's former electronic shock treatment will be sent reeling by the subtlety of this latest release, where ceaseless sonic bombardment has been replaced with a more studied and intricately forged set of almost-songs and mangled machine shop melodies. [Jun 2013, p.56]

False Idols could be seen as a retreat to his comfort zone, a style he's already mastered, But the terrain he staked out during his days in The Wild Bunch, and later with Massive Attack, was far more fertile than many give it credit for, and its influence resonates through a spectrum of subsequent subgenres. [Jun 2013, p.55]

Kavain Space's freaky beats are done with a logic that maintains a crucial connection with dancers, even as it bamboozles, tests and wrongfoots them. Still, the rigor is exhausting, even alienating. [Jun 2013, p.46]

Each track Nelson has tautly defined a geography of sound specific to that place, real or imagined. [May 2013, p.64]

Both J Dilla and the recently revived Oval come to mind at moments of Silver Wilkinson, but this is a sound as English as Virgina Astley. [May 2013, p.66]

Most of Raw Solutions is a working-through of moves from Chicago House from Juke to footwork to Ghetto House, and while well done, doesn't leave its own stamp as an outside interpretation. [May 2013, p.66]

There's a handful of new material, all displaying superb arranger's skill. His unusual voice has improved too, broadening and mellowing from that nervous tenor of old. [May 2013, p.58]

Her lyrics see human experience both on an intimate and an epic scale: such expansiveness is well complemented by her music, even if the dancefloor only exists within her home. [May 2013, p.56]

Self-reflective and conceptually probing, it demands and sustains repeated listenings. [May 2013, p.55]

Almost by definition it's a mixed bag, but Grime 2.0 intrigues because it suggests this music was never strictly codified. [May 2013, p.54]

Some Say I So I Say Light's uniformity can become a little wearing across 11 tracks. [May 2013, p.52]

The Redeemer, despite its pinpoint sonics, doesn't take the logical next step of offering a moment of reflection or clarity. [May 2013, p.50]

PSB celebrate an idea of fusty Britishness but lack the imagination, intelligence or inclination to interrogate it or in fact add anything at all to the discourse. [May 2013, p.59]

Volume 3, produced by Ben Frost, shades closer to songwriting in places, as Bon Iver's Justin Vernon and other guest on harmony vocals. [Apr 2013, p.57]

The rest of the album makes the distance between now and (Berlin) then of "Where Are We Now?" painfully evident, a pain heightened by Visconti's failure to convert this collection of session muso workouts into anything memorable. [May 2013, p.55]

Twelve Reasons deals in broad strokes rather than the collection of synapse-sparking details we've come to expect from this consummate trickster. But even in two dimensions, Ghostface is a phantom force to be reckoned with. [May 2013, p.57]

Ready To Die, in essence, a solid hard rock album, with all the good and bad that implies. [May 2013, p.59]

Blood Oaths Of The New Blues is a compelling argument for the virtues of grasping what's within your reach rather than grabbing vainly for the stars. [May 2013, p.60]

Supermigration never quite brings these directions--Air, Lindstrom, Neu!--together though; instead of fermenting their own sound, Solar Bears end up falling into the space in between them. [May 2013, p.66]

He just keeps getting better at writhing around in this narrow space of homage and usually lands somewhere just between endearing and brilliant. [May 2013, p.67]

There is no shortage of bad ideas on the second installment.... But this ugliness is anchored by a series of largely curatorial successes. [May 2013, p.68]

This is a collection of songs that the group genuinely love and it shows. [Apr 2013, p.61]

This particular experiment has left a formerly unpredictable group sounding as though they've been replaced by a bunch of tired retromaniacs. [Apr 2013, p.61]

Another big fat splat of technicolour vomit from Lightning Bolt drummer Brian Chippendale's solo project. [Apr 2013, p.51]

When dealing with the more fully formed of the original songs, the album is extremely strong. [Apr 2013, p.58]

With no lyrics to anchor their meaning, many songs here are infused with pathos and awe. [Apr 2013, p.57]

Tokumaru seems to have poured his entire being, subconscious and all, into these compositions, which burst with vivacity and detail. [Apr 2013, p.57]

Rat Farm has only the occasional flash of brilliance. [Apr 2013, p.53]