It's [Neil Fallon's} witty, intelligent, lusty lyrics that elevate Book Of Bad Decisions from good to great. [Oct 2018, p.50]

For the most part this album is unadulterated joy, and even in the instances where things feel a little more serious, it’s still entertaining as hell. [Aug 2021, p.69]

Though he's lacking some in terms of identity and he'll probably never be a technical monster, he benefits from the same instinctive ability to ride a beat's pocket that rapping producer predecessors like Large Professor and, yes, Dilla himself possessed. [Nov. 2010, p. 66]

It is mixed heavy in the low mids, blanketed by chorus effects, yet somehow misses warmth. Its ambitions are little short of symphonic. [Jul 2017, p.62]

They have a certain beauty, but it all feels sterile, airless. [Sep 2011, p.59]

Arcology is dense, detailed and melodic. [Mar 2016, p.51]

The songs' parts don't always transition as smoothly as the listener might like, making them feel like a long sequence of moments rather than a single, shifting musical experience. ... Still, when Pack and Pendleton are gliding above the battlefield, voices and violins arcing slowly around one another, there's a real beauty here. [Sep 2016, p.56]

[An] excellently focused overview. [Nov 2016, p.70]

In Arbouretum’s case the song remains much the same, but its continuation is more than welcome. [Apr 2017, p.60]

Each piece might be filled with personal meaning to the artist, but they all leave enough space for listeners to reflect on their own worries. The transition between the noisy, illusory interlude “[ A Backlit Door]” and the understated beauty of “Haruspex” is an especially poignant moment on an album rich with them. [Dec 2023, p.54]

More than any other Gas album Rausch captures the exhilaration one can feel deep in the woods, walking for far too long, marching ever forward without ever looking back. [Jun 2018, p.56]

There is a roughness and a sense of surprise to these tracks completely lacking from many other Four Tet productions. [Oct 2012, p.62]

WWWINGS deliver an album that has the rumbling force of feet stomping in unison but which is finished with a hi-tech sheen. [Sep 2016, p.57]

Lack doesn't allow so much for meditation, forcing the listener to confront its continued presence through interjections of anxious vocal exercises and crashing echoes, industrial scrapes and human ululations. [Sep 2017, p.49]

Though they're written to sound simple on the surface, PG Six's songs reveal an unusually high level of artistry on closer inspection. [Sep 2011, p.62]

Unlike a lot of electronica, the music never lapses into mere tastefulness. [#235, p.75]

In lesser hands [it could have slipped into corny retro tropes], but In Dust is if anything even less indebted to past styles than last year's impressive self-titled debut. [Sep 2011, p.56]

Impossibly both epic and restrained; somebody call CERN. [Nov 2017, p.67]

“Bounty” exalts the genre’s heritage with a lyrical pastiche of pop songs--Blondie’s “One Way Or Another” and James Brown’s “Get Up (I Feel Like Being A) Sex Machine” among them. “Flight 1235” acknowledges the shift in perspective and approach while insisting it’s his hard-earned right. [Aug 2018, p.52]

Just as David Tibet uses English folk to create his own apocalyptic mythos, so Wood takes the bare bones of Americana and makes something personal and timeless. [Oct 2008, p.58]

An upbeat yet ultimately wistful record about living, dying, youth, age, wasting time, but also trying not to waste time. [Oct 2017, p.59]

A record that urges you to lean closer to the speakers in order to fully hear everything that is being played and sung. [#216, p.63]

Almond just made one of his best records, completely out of the blue. [Mar 2015, p.49]

Zola Jesus is back to her dark roots, but enriched by intense layers of experience. [Oct 2017, p.55]

Shorn of vocals, Xen suffer the same fate as much beloved contemporary beat music, which is a kind of dazzling monotony. [Nov 2014, p.63]

The Footwork moves might be hard to master, nut there's every chance your brain will o a jig to this. [May 2012, p.66]

Her lyrics see human experience both on an intimate and an epic scale: such expansiveness is well complemented by her music, even if the dancefloor only exists within her home. [May 2013, p.56]

Climactic yet precisely controlled, it's a reminder of The Necks strengths, all of which are on display at different points throughout Open: their astute handling of pacing and momentum, finely honed collective sense of timing, and their shared ability to balance at length a group equilibrium, be it delicate or clamorous in register. [Oct 2013, p.50]