Black Encyclopedia... is less abrasive but no less urgently meaningful [than 2016's Fetish Bones], a fusion of experimental hip-hop, soul, poetry and jazz-etched beatscapes that ebbs and flows around the concept of an Afrofuturist universe. [Oct 2021, p.29]

It would be reductive to simply label this as just ambient electronica, even though it fits the bill, as there’s a level of depth, texture and nuance that belies its deceptively straightforward delivery. [Review of the Year 2024, p.30]

Their selection is most impressive during climactic moments - the opening double whammy of an explosive "2=2+5" and impatient "Sit Down. Stand Up" a frantic "Where I End And You Begin", a thunderous, almost unhinged "Myxomatosis" - but quieter moments like the skittish "The Gloaming also flourish. [Nov 2025, p.50]

This is an excellent album that manages to be both a mature summary of an artist’s career and something completely fresh and new.

The result is something abrasive but controlled. [Jul 2013, p.83]

Rose said she wanted to make an album that reflects the oscillating extremes of her personality--Loner is that and much more. [Jul 2018, p.34]

Elegiac and otherworldly. [Jan 2022. p.25]

Arrangements are denser and somehow tenser than the relaxed studio recordings, with “Partition” building to a fervent drone and “Natural Information” riding a wild groove kept in check by Callahan’s steady vocals. [Oct 2024, p.33]

Only Frozen Sky Anyway is a seriocomic meditation on the absurdity of humanity, unfailingly generous in music and spirit alike. [Oct 2025, p.32]

With Orange his style cuts loose and shifts around, relaxing into large, at time echoey spaces while recalling '70s Bowie and Lenon and The Verlaines, though not entirely forsaking jangle. [May 2026, p.37]

Skying, The Horrors' third, again brilliantly confounds expectations. [Aug 2011, p.76]

Bristles with the unruly energies that enlivened their younger incarnations. [Mar 2021, p.32]

It's a decidedly sparser backdrop for his erudite, torch-like confessionals. [Dec 2012, p.76]

The knotty, punky, Squarepusher-style edges of its predecessor have been smoothed down, with a little too much perfumed whimsy in the mix. [Aug 2013, p.77]

Lisbon instead makes defiant virtues of under-ambition and overindulgence. Short on hooks but long on atmosphere, the songs suit Hamilton Leithauser's Dylan drawl. [Nov 2010, p.110]

The Ghosts Of Highway 20 is vast, thoughtful and profound. [Feb 2016, p.81]

A strong set of big band compositions. [Nov 2017, p.23]

A complete rethink has resulted in the most uninhibited and visceral album of her career. [Jun 2014, p.78]

A bold re-statement of artistic identity. [Sep 2022, p.25]

Presley's righteous fury and mordant wit burn even brighter on this follow-up. [May 2017, p.28]

Bock’s solo work takes a subtler but no less arresting approach, weaving in melodic passages for strings, organ and woodwind and rhythmic calls to her Brazilian heritage in ways that only fully reveal themselves with repeated listens. [Aug 2022, p.25]

In both rhythm and spirit, Yowzers is slippery and free. Yet where the record coalesces into songs, it tends to speak the raw, direct language of soul music and the blues. [Aug 2025, p.36]

Long Wave Home is full of innovative arrangements and quirky vocals, but it's equally stuffed with great songs. [May 2026, p.30]

Menneskekollektivet's foibles – and the sense that it’s incomplete – are what make it so compelling. [May 2021, p.34]

Eye Contact works because its bolshie drum patterns and metallic synth stabs, influenced by Jamaican dancehall and UK bass music, anchor it firmly in the near future, while Lizzie Bougastsos' strong and inventive melodies help make light work of what could come across like a pretentious muddle. [Jun 2011, p.85]

Pick Me Up Off The Floor hangs together wonderfully. [Jun 2020, p.33]

Haunting songs rooted in old-time country, Southern Gothic and humming electric ambience. [Mar 2016, p.72]

The band's newfound eagerness for moodier tempos and treatments allows frontman Elias Bender Ronnenfelt to dig deeper into his Gun Club fetish on "under The sun" and make like he's stumbling out of a Kurt Weill musical on "Showtime," a stunning piece of punked-up cabaret. [Jun 2018, p.28]