Ultravisitor feels like another work in progress, another messy, powerful, occasionally remarkable, sometimes infuriating attempt to create a true, detailed, authentically multifaceted musical autobiography. [#241, p.52]

An exciting record crawling with new ideas. [#243, p.74]

Both totally entertaining and instantly accessible to both avant rap devotees and curious passers-by. [#246, p.66]

For the most part it works, weaving a dark atmosphere of foreboding and dread through the songs. [#240, p.68]

If nothing else, these [political] elements give Liberation a darker hue. [#240, p.67]

More choppy and scattered than its predecessor but equally compelling. [#241, p.61]

It's exhilarating and rare to hear such bruised raw performances as these. [#242, p.71]

Rather than fetishing these sound sources, Neubaten vacuum-pack the lot inside a hermetic and constricting production that is immensely disturbing. [#241, p.57]

It's simultaneously the group's most successful integration of the various strands they've chased over the years and their most ambitious and expansive work to date. [#241, p.50]

There are occasions when vocal inadequacy can be more emotionally fetching than full-throated virtuosity.... This, however, is not one of them. [#239, p.57]

One of the year's best releases, remix or not. [#241, p.71]

There is no fake authenticity in this musical exploration, and Herren's musical palette is impressively wide ranging. [#241, p.63]

Continues along lines that Stereolab have been laying down since the late 1990s: motorik drumming and a swish of keyboards tarversing a linear landscape, with the emphasis on Sadier's laconic, dewy vocals. [#239, p.65]

Evokes the same stark, road weary melancholy as Ry Cooder's score for Paris, Texas, but with a far more extensive sonic toolbox. [#240, p.57]

It's the wealth of unexpected production touches crammed into its 25 minutes that really bring Maryland Mansions to life. [#240, p.72]

Closer works best instrumentally, as a sonic depiction of the mind, as a dark voyage into inner space. [#236, p.64]

Stands as a monument to punk rock action at its most intelligent. [#236, p.60]

The album becomes more experimental and confident as it progresses. [#236, p.59]

While the album is pleasant, it takes a long time to open up. And once opened, it's nice, but hardly revolutionary. [#236, p.61]

A quietly masterful concoction. [#236, p.62]

Some of Out Of Season's lyrics are almost too impossibly idealistic and airy fairy to carry off. [#226, p.54]

It's all been very 'civil,' but still no sign of that dang war. [#235, p.63]

It's clear that Bell retains a sure grasp of form and dynamics. Hard to shake off, however, is the nagging feeling that you've heard all this before. [#236, p.62]

It radiates with a confidence fuelled by acolytes and its fun is infectious. But... the angry cynicism coursing through the album creates a distance between its maker and the listener. [#237, p.53]

Contrasting epic, experimental freakouts with concise chamber music, 5 is a diverse album, full of gems bleeding with icy brilliance. [#235, p.69]

Coomes and Weiss' compact set up maintans an awkward dynamic balancing natural elegance with barbed experiment to sustain the music's flux of design and accident. [#235, p.64]

Byrne has done a tidy, if not terribly exciting job on the soundtrack. [#235, p.57]

This is drivel inflated to whole new levels of bombast. [#235, p.72]