There's a subtle psychedelic twist in these phony hits that somehow renders the best of them compulsively listenable. [Oct 2012, p.64]

The musicians' sensibilities combine to create a bliss pop which doesn't simply evoke the spirit of summer, but allow it to bleed into every chord. [Oct 2012, p.64]

There is a roughness and a sense of surprise to these tracks completely lacking from many other Four Tet productions. [Oct 2012, p.62]

[A] cunning, witty album. [Oct 2012, p.62]

A mixed bag. [Oct 2012, p.62]

Lacking the eldritch weirdness of Actress's music, their faded grandeur somehow feels strangely mundane, despite their inherent beauty. [Oct 2012, p.62]

The results are sketches, in the best sense: unplanned, absorbing accidents as new pathways, concerned with mood rather than architectural precision. [Oct 2012, p.60]

Cale is producing involving, forward-moving music that still capable of catching you unawares. [Oct 2012, p.58]

It's like being in a church of flesh, a satin abattoir, an immersive video game of obsessive love--sickly, addictive, raw. [Aug 2012, p.46]

His murky but upbeat productions augment this sensation, giving Skelethon a sort of B-boy gothic feel, an old school park jam recreated by Tim Burton. [Sep 2012, p.74]

LV's South African explorations sound fresh in the current vogue for Footwork and trap rap references. [Sep 2012, p.73]

Clark [is] aiming for what he calls full mind distortion. The title track delivers. [Sep 2012, p.72]

While Clockwork Angels is energised and intense, it neither sounds nor feels like heritage rock or a return to first principles. [Sep 2012, p.70]

This is his second essential album of 2012. [Sep 2012, p.70]

This is music with character. [Sep 2012, p.67]

Some of the tracks are dead ringers for math rock, but in Bishop and Chasny's hands that ornate form attains gut-level thrust. [Sep 2012, p.64]

It should still be appreciated for its sonic density, its sustained mood of dread and the universality of its themes, at least one of which--the condemnation of usurers--is painfully relevant today. [Sep 2012, p.63]

It's one of the most personal recordings from any of the three collaborators. [Sep 2012, p.63]

Every now and again a ray of sun shines through, a warmth and homeliness that Buena Vista Social Club and its ilk condition you to expect, but more often they're glazed with a chill. [Sep 2012, p.62]

Another slapdash cash-in from masked rap's last bastion. [Sep 2012, p.60]

It's the lighter, trickier touches that stick in the head. [Sep 2012, p.56]

Ariel Pink's writing is completely scattergun, but this is what can make it so disarming. [Sep 2012, p.56]

Despite their pop savvy, it's a surprisingly difficult listen. [Sep 2012, p.57]

Exo alternately provokes astonishment at its kitschiness and the sensual thrill of its dazzling inhumanism, but that's probably the whole point. [Aug 2012, p.58]

An unequivocally rocking set on which Chasny is backed by his former group Comets on Fire. [Aug 2012, p.56]

Strange Passion's careful curation and lavish sleeve notes give a belated but generous and welcome salute to an overlooked epoch in musical history and the passions it provoked. [Aug 2012, p.52]

The thick consistency of America is of a different sort: lusher, more polished, wider in scope, almost symphonic in its conception and structure. [Aug 2012, p.43]

The closing track "Temptation" proves that electronic producers who refuse to be typecast are the ones who keep the music exciting. [Aug 2012, p.44]