As with most of these tracks, the effect is cumulative, and if Co La's modus operandi at first appeared to be almost flippant, the resulting music is inescapably hypnotic. [Jan 2012, p. 52]

Sound stretches and stretches without ever threatening to crack, and you start to long for some crude and rude collisions; a belch, a digression, a protest, an accident... [Machine guns blasts in the second half come] too late, and too orderly. [Dec 2011, p. 63]

The framework is so decentered there's barely a frame. That, it turns out, leaves room for the work. [Dec 2011, p.52]

It's more letdown than meltdown, as veteran drummer Steve Reid runs out steam about halfway through disc two. [Dec 2011, p.70]

There's no bullshit and no nonsense here, but listening to this album,, you might end up wishing that there was. [Dec 2011, p.68]

Metallica's unrelenting sledgehammer style works as the perfect complement to Reed's vision of compassionless love, with monolithic chords deployed with almost surgical precision wile he dissects relationships w of masochism and power. [Dec 2011, p.63]

It sometimes seems too restrained, too polite. [Dec 2011, p.62]

Work (work, work) is a sophisticated response to a reality paralyzed by consumerism. [dec 2011, p.56]

It's a beguilingly well-delivered statement in a dialect that was sidelined in favor of the cult of bass or the florescent synths. [Dec 2011, p.53]

The mood is subdued, the backing spare, meditative, but--as we've become used to with Bush--lacking in any adventurousness of spirit, at points, you could even describe it as late night jazz club tasteful. [Dec 2011, p.52]

Transcending its function as a score, this music works as a collection of instrumental vignettes, individual yet circular in structure. [Nov 2011, p.64]

It's the generous flow of rapt, wistful melody that makes Severant such an appealing prospect. [Nov 2011, p.72]

Sadly it feels like the gestation period has robbed Joker's music of some of its immediacy. [Nov 2011, p.72]

Like every track on this EP, it's an incredibly precise and convincing reconstruction of mid-80s electro-pop that is nostalgic with out the obfuscating murk of H-Pop. [Nov 2011, p.70]

After four decades, the album's concentrated blend of brutalism and intricacy, fluidity and fracture, sound as uncompromising as ever. [Nov 2011, p.69]

At this moment, Bad As Me might be his best ever. [Nov 2011, p.68]

This pairing actually works almost as well as the one that produced that incredible LP [1964's Folk Roots, New Routes]. [Nov 2011, p.67]

Although he wrangles these troublesome rhythms with aplomb, at times they bring out a cartoonish tendency that undermines his usual deadly poise. [Nov 2011, p.66]

It works best when blended with his more adventurous tendencies. [Nov 2011, p.64]

He spins an engrossing narrative in short spans of time, packing songs with layers that are felt when they're not immediately perceived. [Nov 2011, p.63]

Never merely texture, just noise or dumb repetition, but always, instead, living and intelligent music. [Nov 2011, p.63]

Crazy Clown Time is like a sound painting of oddball modern USA done in the style of Old Weird America. {Nov 2011, p.62]

I found myself wishing [the booklet] was three times longer and the music three CDs less. [Nov 2011, p.60]

Some might find the group's repetitive grooves too smooth a match for all Smith's spewing. But his bark infects everything around it. [Nov 2011, p.58]

Far Side Virtual is a convincing evocation of the digital dreamtime. [Nov 2011, p.58]

Bonnie Prince Billy shows no sign of slowing down his slowness, despite, or perhaps because of, the misery. [Nov 2011, p.56]

The record crams a ton of sonic and thematic ideas into a small space and yet show almost no visible stitches. [Oct 2011, p.66]

There's a lot going on and while he never rises to anything as wakeful as a melody or a solid riff, there's still a satisfying level of control that keeps him two steps away from the minimalism plus heavy effects tendency of similar acts. [Oct 2011, p.65]