With an outfit like Napalm, one looks for the subtle touches, and they're present: clean vocals on "Analysis Paralysis" and "The Wolf I Feed," a psychedelic burst of guitar noise on "Leper Colony." [Mar 2012, p.58]

Mouse on Mars's melodic power has been greater across the years, but the textural richness of Parastrophics is unmatched. [Mar 2012, p.57]

Ghosts continues the work of previous albums, but nonetheless manages to be a blast of fresh air. [Mar 2012, p.57]

Foreign Body evokes alienation from a bottomless chasm of introspection. [Mar 2012, p.57]

They're wise enough to leave breathing space, such as the final minute of "The Hurt That Finds You First," which codas into a swishing corridor of guitar licks, or "The Last vigil," which brings the album wordlessly to rest on a pall of interleaved, echoing guitar chimes. [Mar 2012, p.56]

The trio are in classic 1970s rock mode throughout. [Mar 2012, p.53]

More than half of Pretty Ugly combines vocals prominently into the mix after a style that sometimes flounders in its own ambition. [Mar 2012, p.52]

The recipe still works. [Mar 2012, p.52]

The five pieces do indeed feel like direct transmissions from Batoh's withered soul. [Mar 2012, p.50]

Like O'Rouke, Ambarchi skips light-footed across vast terrain in under an hour, and comes out with something that resonates perfectly. [Mar 2012, p.50]

He's certainly dextrous enough as a rapper to accommodate this musical schizophrenia, bobbing and weaving with a raw aggression that also serves to mask that he has little to say. [Mar 2012, p.69]

Back On Time does reek of that era (1990s) rather than more recent productions trying belatedly to push the same buttons. [Mar 2012, p.68]

Swoops and swirls of tape chaff and manipulated sound effects alternate with the kind of beguilingly wistful, haunted folk we've come to expect from Tucker, brilliantly complementing the album's moments of abstraction. [Mar 2012, p.65]

There is a resounding thinness to Purple Naked Ladies and its finest moments sound like a collection of scratch tracks from a lost Erykah Badu/Neptunes session circa 1998. [Mar 2012, p.54]

Like most blockbusters, TM103 lacks some subtlety and depth, but is nevertheless preposterously entertaining, almost unerring anthemic stuff. [Feb 2012, p.71]

The lyrical intricacy and rhythmic playfulness of old are still there, but an arthritic creakiness creeps in, especially when he indulges in hackneyed poetism and dodgy wordplay. [Feb 2012, p.71]

As empty experiences go, New album is one of the best. [Feb 2012, p.68]

I Love You is rich enough with textural ambiguities and seething digital soups to easily warrant repeat visitations. [Feb 2012, p.65]

This recently unearth gem from Delmore is a fascinating insight into the creative mind of one of the brightest lights of the Greenwich Village breadbasket circuit, Karen Dalton. [Feb 2012, p.63]

You can practically hear Lindstrom reaching for his wizard hat and robes at times, but equally Six Hats is right on time, digging into similar disposable digitalisms to James Ferraro's Far Side Virtual, all without bursting that disco bubble. [Feb 2012, p.61]

The tracks are subject to strategies of sampling, distortion, cut-up and back masking, to a troubling point of excess, impurity, queasiness, and corrosion, unheard of in earlier releases. [Feb 2012, p.60]

The Caretaker's music works best as a static pattern amidst digital flux. [Feb 2012, p.56]

They stick to their strengths--menacing songs about breaking peoples noses and such. [Jan 2012, p.70]

Just like the great dub albums of the past, this is one that will provoke revisits to the original. [Jan 2012, p.67]

Much of the album is soothingly entrancing. [Jan 2012, p.64]

He's tightened his flow ever so slightly, but the brutal artlessness of his writing and character remains. [Jan 2012, p.69]

Their music is an exercise in reductionism: how little does a tune need to be tune? Yet, somehow these non-tunes niggle away till they lodge firmly in the memory tissue. [Jan. 2012, p.66]

Wiley is one of those rare double-threats, blessed with both production and MCing abilities. [Jan. 2012, p.64]