The music still nods to Broadcast in its gothic otherness, and the basic format of analogue synth driving the bass, drums and vocals is unchanged. But the sound is more structured, more--gasp!--song-like. Unfortunately the production is imbalanced, rough and thin. [Dec 2018, p.59]

It’s definitely a mixed bag, but pays off with “The Dawn” in which Lipstate’s guitar exhales in tandem with a spoken admission of small hours frailty. [Dec 2019, p.53]

On tracks with genuine maverick talents like E-40, his fundamental lack of character appears (or disappears) in sharp relief. [Apr 2015, p.65]

Attention Please is more of a shuffle than a giant leap forward, leaving the feeling that we've been here before. [Jul 2011, p.44]

This may be the first solo Eno work that is entirely without interest. It is bafflingly below par. [Dec 2010, p.45]

Supermigration never quite brings these directions--Air, Lindstrom, Neu!--together though; instead of fermenting their own sound, Solar Bears end up falling into the space in between them. [May 2013, p.66]

Urstan can be seen as a remedial effort. [Apr 2012, p.58]

How you feel about the LP will reflect how far you’re into its comic meets splatter trick. It feels sketchy and underdeveloped to me. [Apr 2019, p.68]

Pleasantly ear friendly and leaves no unpleasant odour or lingering aftertaste. [#243, p.74]

His songs are still gauzy and intangible, the breathy vocals offering lyrical wisps that only hint at turbulent emotions. [Aug 2015, p.58]

Unfortunately, for all the insight, this willingness to play victim often overshadows the incisiveness of the MC's observations when it come to the beats he has chosen to rail over. [Sep 2008, p.66]

If Magic 2 reveals that Nas can definitely still rap, it also continues his unfortunate run of uninspiring production choices. There are enjoyable moments, like the 50 Cent assisted “Office Hours”, the ominous string driven force of “Motion”, and the mesmerizing penmanship on “Slow It Down”, but overall the album falls short for an artist of Nas’s stature. [Sep 2023, p.68]

Sounds at times as much like an audio documentary of Cameron's Britain as a collection of electronic songs. [Oct 2015, p.62]

Likeable but fairly forgettable listen. [Feb 2016, p.57]

His arch over-emoting robs his songs of any sense of genuine feeling. [Feb 2013, p.60]

Sic Alp's latest might make for acceptable audio wallpaper--nice tunes and all, just ragged enough to contrive an illusion of edginess--but it crumbles under closer scrutiny. [Mar 2011, p.58]

At times this soundtrack feels like a library music album with umpteen variations of the same cue, at different speeds and edit times – but the piano-led “Strodes At The Hospital”, the guitar solos and growling synth bass of “Hallway Madness” and the many moods of “It Needs To Die” are moments of fresh interest. [Dec 2021, p.61]

The music is so devoid of anything to grab onto, listening to it is rather like plummeting at speed through the artificial landscape constructed for the film. [Mar 2011, p.48]

In truth most of it is middling stuff. [Oct 2011, p.62]

Parts of Dark Crawler are thrilling. But it sounds less like a confident stride forward than a cautious toe dipped into an unpromising future, one eyeball trained wistfully on the past. [Nov 2012, p.66]

Beautifully performed, but otherwise unadventurous. [#243, p.69]

Musically the project is weighed down by Haigh’s hugely uninteresting and one-dimensional piano playing. ... Haigh’s ear for electronic texture does do some of the heavy lifting for which his piano playing is not equipped. [Feb 2020, p.47]

They're indubitably human this time around. [Jun 2015, p.54]

["f=(2.5)"] has a nice queasy seasick vibe, but feels over-egged, with too many ideas thrown at it too quickly. Other tracks repeat this formula with diminishing returns and cut 'n' paste fatigue sets in.... "f=(2.6)" is a lot more fun. [Oct 2015, p.48]

He doesn’t sound quite engaged anywhere on Lady, Give Me Your Key – more like a talented but wayward kid trying out for the school show. [Nov 2016, p.75]

The Redeemer, despite its pinpoint sonics, doesn't take the logical next step of offering a moment of reflection or clarity. [May 2013, p.50]

The problem is that this music, heard purely as a piece of product rather than as part of a wider performance with site-specific logic, leaves the listener with too much time in which to speculate what wider agenda the group may be spinning. [May 2018, p.54]

In flashes it could be a parallel universe in which Mahavishnu Orchestra ended up inventing Japanese city pop: a luxuriously hi-tech vision of urban utopia. But just as often it has the futile atmosphere of those projects in which string quartets would perform Aphex Twin. [May 2017, p.61]