His cartoonish vocals remain charmless, his lyrics as tediously self-referential as ever. [Oct 2017, p.57]

Beautiful. [Jan 2022, p.64]

It's far from perfect record--the guests are phoned in, the beats sometime out-cheese pre-breakdown Kanye at his cheesiest--but it has more than a few perfect moments. [Jul 2013, p.68]

Pick A Day To Die pieces together Sunburned fragments dating back to the late 2000s, resulting in an endearing zigzag of moods. [Mar 2021, p.58]

An account of stifling domesticity plays out over a propulsive 4/4 rock beat and swirling woodwinds, which serve to evoke how, in spite of everything, she felt “electric, alive, spirited, fire and free”. .... Testament to the subterranean efforts to prevent this woman’s story from being forgotten. [Oct 2023, p.52]

The combination of simple but taut musicality and literate lyricism is a winning one. [Apr 2021, p.54]

It reignites the traditions it draws upon and creates something utterly contemporary. If this record sounds familiar, it is because it is the music your soul has already worked out we need for the struggles to come. [Jul 2017, p.46]

Science Fiction Dancehall Classics is a more than serviceable as an On-U sound primer, yet may throw even those who think they know the label. [Oct 2015, p.70]

The 20 minute centrepiece “Water Meditation” is a startlingly realised suite of wonder that flows from fragmentary shards of sax, voice and synths to stealthy dubby menace through to a collage of impacted noise and shattered beats that’s one of the most emotionally affecting delineations and reimaginings of resistant Black art you’re likely to hear in 2021. Essential listening, and the same can be said for Open The Gates as a whole. [Nov 2021, p.53]

This is the most elaborately arranged thing Gunn has ever done, jammed full of understated yet excellent guitar. [Oct 2014, p.54]

She delivers an almost unrelentingly banging techno set whose cuts, while perhaps underground, could never be referred to as deconstructed. [Apr 2019, p.57]

Ultimately the digressions charm and gel thanks to the generosity of Freedia’s performances, marshalling us through dance manoeuvres in service to the communal heart of bounce. [Sep 2023, p.52]

A few of these ten songs burble with easy rhythms – “Lye” rocks with crunchy, prog rock horns looped by The Alchemist. But overall, the tone of SICK! feels contemplative, slowly unfurling with repeated listens even as Earl crams over 20 minutes of thoughts into the work, with no hooks to leaven the intensity. [Mar 2022, p.43]

It's inscrutable and inspired, and this time mystique has nothing to do with it. [Apr 2013, p.51]

Galás crisply delivers excerpts from two works by the German expressionist poet Georg Heym, Das Fieberspital (The Fever Hospital) and Die Dämonen Der Stadt (The Demons Of The City). [Sep 2022, p.46]

Like her otherwise innovative Couldn’t Wait To Tell You, the 41 minute album has its inevitable longueurs (the abstract “Snowing!”). Otherwise it moves along with purpose and confidence. [Apr 2023, p.56]

Introspective, emotionally charged pieces such as “Father Time”, “We Cry Together” and “Savior” provide high – or jarring – points on the record, but elsewhere there are periods of lull absent on previous efforts. ... As sonically impressive as his latest album may be, his approach to the topics under discussion doesn’t feel sufficiently thought out. [Jul 2022, p.48]

The mood is subdued, the backing spare, meditative, but--as we've become used to with Bush--lacking in any adventurousness of spirit, at points, you could even describe it as late night jazz club tasteful. [Dec 2011, p.52]

While their tonal depths speak to undiscovered worlds, they’re grounded by the sound of Sakamoto’s breath, audible on every piano track. The palpable humanity is moving, and Sakamoto’s ease with melodic phrasing remains astonishing. ... Would these stark, simple pieces be as moving and filled with meaning for newcomers to his work? Perhaps not, but becoming an understanding receiver of work is one of the great privileges of longtime listening. [Feb 2023, p.45]

Fires Within Fires is the summation of 30 years of experimentation in tonality and texture. Yes, Neurosis are firmly positioned within the extreme metal underground, yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives--not to mention the loss that accompanies them--challenges this categorisation. [Oct 2016, p.49]

Absolutely gorgeous. ... It’s as clear, translucent and dazzling as the medium it both plays with and describes. [Mar 2018, p.52]

On Malibu, melody unifies and smooths over divisions: rap and R&B, black history and black modernity, spiritual uplift with the rough material of the everyman's everyday, all made cohesive by Paak's considerable songwriting talent. [Apr 2016, p.64]

She’s doing something unique and off-kilter on her debut album. She plays analogue synth and pedal harp, both essentially dreamy instruments, and her compositions are like gentle blends of spiritual jazz and ambient music, not that far from Alice Coltrane’s devotionals, if remixed by The Orb and minus the chanting. [Jan 2022, p.71]

Dreaming In The Non-Dream is a protest record through and through. It captures a rabid collective frustration and expels it with a palpable urgency. The fact that Forsyth and the rest of his group can do it with an eloquence that’s hard to summon in these dire times makes it all the more rewarding. [Sep 2017, p.50]

The music for the horror/revenge fantasy developed from Cosmatos and Jóhannsson’s mutual appreciation of heavy metal and psychotronic cinema, and it shows. [Nov 2018, p.56]

There’s a consistent low level sense of discomfort, or of familiar sounds or words taking on bizarro parallel forms. Lyrically, the album is enigmatic, full of personal mythologies, and swings between the divine (Jesus, Elvis) and the domestic (schools, peanut butter sandwiches). The song titles are a puzzle of repeated words and variations of phrases, like a secret language in plain sight. All over the album are sounds that can’t easily be identified, or that sit in between recognisable timbres. [Jul 2023, p.52]

With no lyrics to anchor their meaning, many songs here are infused with pathos and awe. [Apr 2013, p.57]

JPEGMAFIA ain’t really here for the put-ons and doesn’t expect his listeners to be either. But those expectations do not come without a kind of sound education, one that considers the context and multiplicity of characters he’s speaking to and through. In that way, Cornballs demands repeat plays, critical engagement and a goddamn sense of humour. [Nov 2019, p.57]