If you’re after period reproductions of 1970s rustic rock, will please you just fine. [Jun 2018, p.65

Unlike many electronic producers whose work echoes the chill of black metal, he retains a certain subtlety – each jolt of sound is unburdened by grand posturing. [Apr 2020, p.52]

Retaining his passion and knowledge for psychedelic music in all its multifarious shifting forms, together with a long incubated yearning to steer his guitar sound in the direction of Jimi Hendrix, on Little Eden Saloman intermittently flashes back and storms straight ahead with a honed set of crafted songs and short-fused acid/garage rock explosions. [Sep 2021, p.62]

For most of the album, the core group explore Lewis’s own compositions, with the leader and Hoffman engaging in thoughtful conversation as Jaffe conveys pulse rather than time. [Apr 2023, p.56]

She’s done it again but, as ever, differently. [Oct 2023, p.56]

The grooves, textures, feel and playing here are immaculately realised but the unique way this band put together what they can do makes it, as ever, way more than just retro-psyche. Perhaps their best, most fully realised record yet. [Oct 2023, p.56]

It all sounds wonderful, sparkling and glistening. Yet it doesn't make a dent that one might expect. [Oct 2008, p.56]

Animals is a riotous, communal affair that doesn’t so much straddle the line between hiphop and jazz as wrestle with both traditions and emerge with something grand. [Sep 2023, p.60]

Undertow makes great use of Baljo’s guitar and Olson’s saxophone; looping them into churning, oozing grooves that recall the metallic swamp of Gnod’s Infinity Machines LP. Within this sickly ambience, bursts of electronic noise erupt and sputter but never dominate. [Apr 2017, p.59]

Consists of a reasonable ten discrete songs that feature a manageable number of guest vocalists. ... His focus on hybridity and virality keeps his work fresh and intriguing. [Oct 2020, p.52]

Green commandeers her forces, keeps things simple, and makes irresistibly confident and sharp guitar pop. Addictive. [Aug 2021, p.65]

Martyn is very good at what he does: the record radiates maturity, technical chops and a cool, sometimes poignant emotionality. [Jun 2014, p.62]

A defining album that should lift her out of the 'sounds like' territory. [#248, p.65]

The comforting familiarity of the Boards' muted beats, synth washes and glowing keyboards is just as potent and valium soaked as it was on their brilliant 1998 debut. [1/2001, p.71]

Even when the album’s second half remembers it was supposed to be a rock record, its raw proto-punk remains perfectly strange, with guitar licks alternating between J Mascis’s fuzzy melodicism and John Frusciante’s soothing warmth as they drift across a busy, restlessly baroque pop background. [Sep 2022, p.54]

Getting the full measure of this quickly hermetic collection depends considerably on how you shuffle and deal formats. [May 2008, p.57]

Recorded during a post-tour chill, the album writes a caustic, often dejected and cynical travelogue. ... Meanwhile, subtle slivers of sarcasm and dry humour punch through this acerbic sound. They find their way in bass-led, sumptuous lounge sludge on “Smoker’s Piece”, assess the “Current Situation” with screeching dissonance and pained shrieks and bemoan the grey daily life on the closing “Every Thing, Every Day”. [Apr 2021, p.54]

As empty experiences go, New album is one of the best. [Feb 2012, p.68]

The album is a fairly effective sampler of Ambarchi's various modes. [Dec 2012, p.58

While the tracks appear softer edged, they share "Strawberry Jam's" tangy, bitterweet flavours. [May 2008, p.49]

Somebody’s Knocking is marginally more rockin’ than 2017’s uninspired Gargoyle – due to a slightly increased emphasis on guitar – but it doesn’t measure up to 2014’s Phantom Radio (or its EP companion No Bells On Sunday). [Oct 2019, p.63]

While The Singles fails to represent Can’s adventures in untethered improvisation and oceanic drift, if you wanted to hand somebody one record that told them what Can was, you could do far worse. [Jul 2017, p.67]

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]

For just a few moments [on "Slow Your Roll"] there’s an unmistakeable sense that what’s already a decent album could have been a whole lot better, could have been inspirational. [Sep 2017, p.50]

Maus’s genius is to splice nostalgic sonic expectations for the future with new structural realities. [Nov 2017, p.60]

Having all this material together is bittersweet – rather than four distinct sets, couldn’t these styles have been brought together in a more innovative way? Arca’s work is invariably surrounded by much chatter about disrupting musical forms, but four albums divided into four distinct moods feels like an unusually conservative vehicle for her ideas. [Jan 2022, p.59]

Hallucinogen moulds diverse influences together into a perplexing whole. [Dec 2015, p.51]

I Love You is rich enough with textural ambiguities and seething digital soups to easily warrant repeat visitations. [Feb 2012, p.65]