Slant Magazine's Scores

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For 3,121 reviews, this publication has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 7.7 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Who Kill
Lowest review score: 0 Fireflies
Score distribution:
  1. Positive: 1,691 out of 3121
  2. Mixed: 1,319 out of 3121
  3. Negative: 111 out of 3121
3121 music reviews
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    • 67 Metascore
    • 60 Critic Score
    Hard Believer
    Without enough concrete musical or lyrical details to anchor the album's songs, they occasionally become too abstract for their own good.
    • 76 Metascore
    • 80 Critic Score
    1000 Forms of Fear
    1000 Forms of Fear should be the vessel that rockets the singer out of relative obscurity and into the stratosphere populated by those more recognizable stars who've come to dominate the pop-music universe thanks, in part, to her songwriting skills.
    • 68 Metascore
    • 40 Critic Score
    Trigga
    Trigga is otherwise designed like a Hollywood blockbuster: squandered talent, obvious themes, and fleeting moments of creative excellence that stick among the clichés.
    • 59 Metascore
    • 60 Critic Score
    Glitter
    While the album may have its flaws, it is for the most part a successful period piece that clearly displays Carey's appreciation for all that has come before her.
    • 74 Metascore
    • 80 Critic Score
    Dereconstructed
    Dereconstructed sounds like a continually exploding bombshell.
    • 49 Metascore
    • 50 Critic Score
    Paula
    Robin Thicke texts his estranged wife, Paula Patton, in the music video for the pointedly titled "Get Her Back," the lead single from said album, Paula. "I don't care," she replies. And it's likely no one else will either.
    • 82 Metascore
    • 70 Critic Score
    Sea When Absent
    A Sunny Day in Glasgow pulls it off, skirting the line between complete anarchy and overwrought tinkering well enough to deliver a compelling, if slightly discombobulated, rock pastiche.
    • 66 Metascore
    • 40 Critic Score
    While(1<2)
    Repeating very simple, barely there melodies over spare arrangements and ghostly keys is fine when you're soundtracking a Michael Mann film, but it isn't enough to fill the long gaps between your club-crashers.
    • 69 Metascore
    • 80 Critic Score
    What Is This Heart?
    A collision between complex, elegant songwriting and soppy bedroom angst, it's not the most coherent collection of songs, but that disorder works, ending up as a function of Krell's ultimately fascinating sense of experimentation.
    • 62 Metascore
    • 70 Critic Score
    In the Lonely Hour
    Just when you've started to grow weary of Smith's pity party, it's over. And there are enough moments of genuine musical, lyrical, and vocal virtuosity and soul to crack even the most hardened listener's icy heart.
    • 53 Metascore
    • 50 Critic Score
    Animal Ambition: An Untamed Desire to Win
    While simple pleasures are about all Animal Ambition can offer, it at least presents them with listenable panache.
    • 45 Metascore
    • 60 Critic Score
    A.K.A.
    The album features more guest rappers than even her 2002 remix album, and the standout "Acting Like That," featuring the always reliable Iggy Azalea, is handily the hardest beat she's ever bought. Unfortunately, A.K.A. also includes a slew of midtempo ballads whose soaring hooks and slick production are wasted on Lopez's reedy voice.
    • 74 Metascore
    • 70 Critic Score
    Ultraviolence
    Repeated listens reveal nuances, like the acoustic guitar bristling beneath the blues-rock verses of "Sad Girl" and the male backing vocals layering the final chorus of "Brooklyn Baby," but the album's steadfast narcotic tempo and Del Rey's languid delivery, doused in shoegaze-style reverb throughout, conjure a hazy picture of the singer swaying wearily in some sweltering sweat-lodge of a dive in the deep South.
    • 80 Metascore
    • 70 Critic Score
    Stay Gold
    Stay Gold, their third album, is less intimate than their previous effort, The Lion's Roar, but, backed by a 13-piece orchestra and gifted with a rare rapport and plangent voices, employed in close, modulated harmonies, the Söderbergs find their pitched balance in the melancholy and occasional loneliness of the quotidian.
    • 73 Metascore
    • 70 Critic Score
    The Feast of the Broken Heart
    While Butler has for the most part an uncanny ability to match singer to material, his own personal lyrical touch is left slightly remote (he co-wrote many of the songs with his collaborators). Instead, he's a curator par excellence who's once again assembled an aggressive and varied collection of voices who together form an earnest plea to choose compassion over division.
    • 80 Metascore
    • 70 Critic Score
    Lazaretto
    Lazaretto pushes even further in its presentation of strange, misshapen song structures, coming off as kaleidoscopically fragmentary and incendiary.
    • 75 Metascore
    • 80 Critic Score
    Government Plates
    This is transgressive art at its rawest and most chaotic, postmodern punk for the millennial age, and its ferocity is both a strength and a weakness, primal and indiscriminate, deeply felt and totally irrational.
    • 86 Metascore
    • 70 Critic Score
    Are We There
    The lyrics, direct and occasionally graceless, find a deeper resonance in Van Etten's unhurried delivery.
    • 76 Metascore
    • 50 Critic Score
    Do It Again
    Röyksopp and Robyn share so much sonic DNA that their team-up is almost self-defeating, blurring the distinction between the two to the point where their respective quirks are essentially scratched in favor of a cohesive but far too clinical production.
    • 67 Metascore
    • 60 Critic Score
    Me. I Am Mariah... The Elusive Chanteuse
    Undisciplined R&B pastiches, however, the album has in spades, especially ones that hearken back to her own career.... With surprising internal logic, the album's two unabashedly uptempo ditties are also the forums for Mariah's most serious-minded performances.
    • 76 Metascore
    • 60 Critic Score
    A Long Way To the Beginning
    A Long Way to the Beginning thus finds the young upstart at a crossroads, between overt legacy mining and striking out on his own, a tentatively successful effort that at least demonstrates Seun's innate skills as a bandleader and a radical.
    • 70 Metascore
    • 80 Critic Score
    ...And Then You Shoot Your Cousin
    ...And Then You Shoot Your Cousin is a trim 35 minutes in length, with 11 tracks and eight proper songs, zooming through its disjointed structure without much padding. This slimness functions as a counterweight to the often stifling subject matter, as the group employs its soul-influenced backdrops in a way that feels totally opposed to what most modern hip-hop is doing.
    • 81 Metascore
    • 70 Critic Score
    Blue Smoke
    The country legend mainlines one greeting-card sentiment after another, singing about angels, rainbows, moons, and fishing holes with reckless abandon. But the vividness and genuine conviction in that timeless, still-powerful voice finds the humanity in all of it.
    • 61 Metascore
    • 60 Critic Score
    Ghost Stories
    Although incumbent on its source material, Ghost Stories avoids wholly rote repetition by porting a modicum of the strangeness and innovation of other artists into its own body, despite Martin's clunky writing.
    • 75 Metascore
    • 60 Critic Score
    Upside Down Mountain
    It's a testament to Oberst's enduring versatility that Upside Down Mountain can accommodate the antic creepiness of "Governor's Ball" as well as the transcendent uplift of "Time Forgot," but the album's moments of sentimentality make Oberst sound like just another chart-climbing purveyor of feel-good folky schlock.
    • 66 Metascore
    • 70 Critic Score
    White Women
    Derivative though White Women often is, and knows it is, Chromeo's level of engagement remains well above #TBT posturing.
    • 84 Metascore
    • 80 Critic Score
    The Serpent & the Sphere
    The album's preference for atmosphere over hooks, plus the paucity and snarling incomprehensibility of its vocals, makes it ideal for pondering whatever mystery that captures one's fancy. But it also has a clear point of view.
    • 72 Metascore
    • 80 Critic Score
    Turn Blue
    There's still a two-man garage band in there, but Auerbach and Patrick Carney are currently catering to earbuds rather than stadiums.
    • 77 Metascore
    • 80 Critic Score
    Nabuma Rubberband
    Their music now meticulous and agile, Little Dragon has matched their ambition with execution, and the result is an album that, for all of its exhaustive details and complex rhythms, rarely feels cumbersome.
    • 77 Metascore
    • 50 Critic Score
    Unrepentant Geraldines
    If Unrepentant Geraldines is indeed visual art, it's more of a polite Norman Rockwell than a vomit-stained Sherman. The former goes great with dinner, but I await the gastric upset of the latter.
    • 66 Metascore
    • 60 Critic Score
    Xscape
    In the end, Xscape justifies its existence with a handful of potential singles that stand up to Jacko's peerless oeuvre, all of them about love's delirious power.
    • 72 Metascore
    • 50 Critic Score
    Shine On
    On "Surrender and Certainty" and "Song for My Father," which is surprisingly less saccharine than you might expect, it at least starts to feel like she's evolving as an artist. But those moments are few and far between on an album that feels longer than it is, which, I guess, is a desirable quality for what is basically glorified background music.
    • 60 Metascore
    • 70 Critic Score
    Sheezus
    Even when the songwriting is less than revolutionary, the performance holds your attention.
    • 83 Metascore
    • 80 Critic Score
    Nikki Nack
    Rarely does an album consider life's eternal struggles in quite this way: searching for answers with its eyes wide open, and silly string in its hair.
    • 77 Metascore
    • 70 Critic Score
    I Never Learn
    Though she's largely eschewing Youth Novels's bubbly synth-pop and Wounded Rhymes's slick power ballads for simpler arrangements and derelict instrumentation, Li still manages to make the ramshackle music of I Never Learn sound grand and, perhaps more impressively, inject a kind of dark romanticism into her depictions of crippling separation.
    • 62 Metascore
    • 60 Critic Score
    Someday World
    Someday World never devolves into Tin Machine-style disaster, but it rarely manages to realize its collaborative potential either.
    • 76 Metascore
    • 50 Critic Score
    Everyday Robots
    There's nothing inherently wrong with bemoaning cultural change (it's a better thematic analogue for personal detachment than the isolation of being rich and famous, at least), but Everyday Robots employs a scolding tone that doesn't help sugarcoat its cranky message.
    • 77 Metascore
    • 60 Critic Score
    Food
    This is some of Kelis's subtlest, most organic-sounding work. If only there was more of her in it.
    • 56 Metascore
    • 50 Critic Score
    The New Classic
    The New Classic mistakenly tries to frame Azalea as hip-hop's newest can't-miss egomaniac, focusing on the riches instead of the far more interesting rags.
    • 70 Metascore
    • 50 Critic Score
    Caves
    Her guitar playing, formerly at the top of the mix, gets manipulated and diminished; too often Caves finds the small-voiced singer dwarfed by her own overwhelming backdrops. Of the different varieties of sophomore slumphood, this at least falls into the more interesting category.
    • 70 Metascore
    • 50 Critic Score
    The Cautionary Tales of Mark Oliver Everett
    Cautionary Tales is underwhelming, but it's also a victim of context.
    • 78 Metascore
    • 60 Critic Score
    Hendra
    Hendra is such an impressively executed time capsule that it contains not only all of the pleasantries of the genre, but also its excessive earnestness.
    • 79 Metascore
    • 80 Critic Score
    Here and Nowhere Else
    It's all part of the sizable growth demonstrated on Here and Nowhere Else, which more than anything is defined by the sound of raw energy giving way to coherence and control.
    • 65 Metascore
    • 50 Critic Score
    Music for Robots [EP]
    On record it mostly reads as another dry intellectual exercise by a man whose career has become cluttered with them.
    • 79 Metascore
    • 80 Critic Score
    It's Album Time
    It's Album Time is structured similarly, slowly building an argument that there's genuine talent behind the sheen of novelty, only to have Terje zigzag in the other direction, dodging the argument he would claim he wasn't even interested in making in the first place.
    • 80 Metascore
    • 60 Critic Score
    The Future's Void
    What's most disappointing of all about The Future's Void is that, for all its heady ideas and pretty moments, in almost all ways it's a regression from Anderson's earlier work, a mishmash of half-completed thoughts that fails to ever fully connect.
    • 69 Metascore
    • 70 Critic Score
    Out Among the Stars
    Out Among the Stars is a reminder of how easy Cash made it all look even when he was slumping.
    • 82 Metascore
    • 70 Critic Score
    Singles
    Though rock has always been the ideal genre for artists to explore entropy, Herring and his bandmates have somehow found a way to inject what is arguably the safest kind of music, adult pop, with their own weird brand of controlled chaos.
    • 69 Metascore
    • 70 Critic Score
    Forcefield
    Tokyo Police Club operates as a kind of derelict garage band, and their offbeat lyrical imagery and crunchy guitar-drum combinations work to enhance the album's messy, unpretentious charm.
    • 75 Metascore
    • 80 Critic Score
    Mess
    It's another welcome reversal for a band that, while keeping true to the same program of intense macabre album after album, keeps finding new ways to vary their ominous approach.
    • 80 Metascore
    • 80 Critic Score
    The Take Off and Landing of Everything
    The Take Off and Landing of Everything gives us mostly familiar surroundings, but it makes for fine company.
    • 58 Metascore
    • 40 Critic Score
    Supermodel
    Had Supermodel ended with this potent one-two punch, one might be inclined to view the rest more charitably. Sadly, it finishes with two bits of acoustic muzak ("Fire Escape" and "Goats in Trees") and a bid to beat Imagine Dragons at its own game with the kind of frantic Meatloaf-goes-electronica favored in YA-movie soundtracks.
    • 66 Metascore
    • 80 Critic Score
    Kiss Me Once
    In terms of the number of classic, summer-ready Minogue singles on hand, Kiss Me Once is pretty much par for the course. But there's an element of that that makes it better than your typical Minogue album, in that it's not content with pleasing the people on the dance floor.
    • 70 Metascore
    • 70 Critic Score
    Mirrors the Sky
    As "Feather Tongue" definitively establishes, it's Foy's voice--hushed and mellow enough for this synth-pop era, but also stirring and dexterous enough to transcend it—that can flourish in and even transform any sonic environment or genre simulacrum.
    • 86 Metascore
    • 80 Critic Score
    Lost In the Dream
    Granduciel is clearly still drawn to his rock roots, but as the gap between him and those influences widens, it become suffused with anxiety and dread, the sort of existential ambivalence that Lost in the Dream masterfully conveys with its vast distorted spaces.
    • 82 Metascore
    • 80 Critic Score
    Piñata
    Thanks to the talents of the artists involved, the album is more than a fun glimpse at the past. These beats and rhymes stick to your ribs.
    • 77 Metascore
    • 70 Critic Score
    Abandoned City
    By allowing himself to trust his instrument and push himself to make bolder, more resonant statements, Hauschka has created the finest work of his career.
    • 78 Metascore
    • 80 Critic Score
    Atlas
    If Real Estate captured the essence of summer, and Days maintained an unmistakably autumnal aura, then Atlas, the most thematically mature of the three, could easily be classified as Real Estate's wintery opus.
    • 68 Metascore
    • 70 Critic Score
    Mastermind
    Sinking into his throne while burping out a bottomless supply of coke and cash metaphors, he thumps along like a bass drum over songs that advance in lockstep; the album often feels like the hip-hop equivalent of a commemorative march for a triumphant ruler.
    • 86 Metascore
    • 90 Critic Score
    Present Tense
    Present Tense possesses a complexity that's not so calculated, focusing on the passage of music rather than layer upon layer of sound. Its 11 synth-drenched tracks are more bare than those on Smother, but they move much more fluidly, their liquiform seduction establishing a contrast with the band's ominous lyrics.
    • 73 Metascore
    • 50 Critic Score
    The Soul of All Natural Things
    The album would have benefited from playing on that edge; instead, it rests on the laurels of its earthy prettiness.
    • 67 Metascore
    • 60 Critic Score
    G I R L
    G I R L may have benefited from a few more introspective trips back to the drawing board.
    • 78 Metascore
    • 60 Critic Score
    Oxymoron
    He has the instincts of a good storyteller, and maybe even the potential to be a standard bearer for his art form, but when he falls back on tired "pimps and hoes" narratives, he sounds firmly, frustratingly rooted in the past.
    • 89 Metascore
    • 90 Critic Score
    St. Vincent
    Her guitar may be her primary tool for shaking up and complicating otherwise strictly defined songwriting, but Clark's voice remains the thing that defines her material, the glittering lynchpin of the glorious, ever-expanding world she's created.
    • 82 Metascore
    • 70 Critic Score
    Blank Project
    Most songs are unfettered, with demo-quality mixes, a bare minimum of instrumentation, and over-exposed live drumming. Split between improvisatory and electronically assisted, the album's 10 songs navigate a raw zone.
    • 71 Metascore
    • 80 Critic Score
    Voices In A Rented Room
    It's a fine album that reveals more about the band's humor and skill with each new listen.
    • 81 Metascore
    • 80 Critic Score
    Morning Phase
    Gorgeously rendered but still ponderous, the album boasts a quiet strength that ultimately derives from the remarkable ability of its creator to deliver his grim sobriety with vibrancy and elegance.
    • 62 Metascore
    • 50 Critic Score
    Music Speaks
    One can only hope she escapes the pitfalls of being a non-songwriting R&B singer in an inhospitable pop scene and finds collaborators who know what to do with a good old-fashioned powerhouse.
    • 78 Metascore
    • 80 Critic Score
    Bad Self Portraits
    Bigger, louder, and more eclectic works well on Bad Self Portraits, but smaller, quieter, and more precise was what made the band's earlier efforts so distinctive.
    • 74 Metascore
    • 70 Critic Score
    Little Red
    Little Red allows Katy the chance to be afraid of her feelings, or at least afraid of being guided by them. And that happens a lot more often and is reflected by the contradictions between the message and the music.
    • 74 Metascore
    • 50 Critic Score
    Voices
    Unfortunately, Carter enjoys a much larger presence this time around, and as the two largely split vocal duties, Voices rarely has a chance to establish any momentum before getting tripped up by its own inconsistency.
    • 71 Metascore
    • 40 Critic Score
    Lo-Fantasy
    Whether drudging up stale '80s-rock signifiers or indulging in lifeless electronic frivolity, this is an album that attempts to skate by on pure surface appeal in order to distract from the obtuse social commentary at its core.
    • 80 Metascore
    • 70 Critic Score
    Emmaar
    With Emmaar, the band continues to construct a creative vision that remains true to the music of their native country while finding ways to incorporate more traditional North American blues elements.
    • 84 Metascore
    • 80 Critic Score
    Burn Your Fire for No Witness
    Burn Your Fire for No Witness is noisier, brasher, and more confident than its languid predecessor.
    • 75 Metascore
    • 80 Critic Score
    True Love Kills the Fairy Tale
    True Love Kills the Fairy Tale flourishes in the complex tension between the Greenes' mellifluous vocal harmonies, their jarring, amorphous lyrics, and the haunted-house dream pop in which both are encased.
    • 76 Metascore
    • 80 Critic Score
    Wonderland
    In rightly avoiding the sweeping, anthemic electro jams of compatriots like Robyn and Niki and the Dove, Berglund offers an unpretentious and hypnotic listening experience, the kind of album that allows its audience to be a member of a nameless, nebulous crowd immersing itself in pure street spectacle.
    • 66 Metascore
    • 60 Critic Score
    Angel Guts: Red Classroom
    Angel Guts is yet another example that the world needs a guy like Jamie Stewart treating music the way Jamie Stewart does: painfully, harshly, intuitively, and with psychotic aplomb.
    • 62 Metascore
    • 70 Critic Score
    Too Much Information
    In the past, the absence of an edifyingly crowd-pleasing anthem like that from a Maximo Park album might have signaled a less-than-essential entry in the band's discography; in its place, however, resides a tonal consistency and musical flow not found since A Certain Trigger.
    • 71 Metascore
    • 40 Critic Score
    After the Disco
    Generic enough to have been produced by anyone, After the Disco is a yawner made by two artists whose impressive discography makes its failure that much more confounding.
    • 67 Metascore
    • 80 Critic Score
    Dunes
    Goldsworthy has built a stratum of battered, creaky atmosphere atop Gardens & Villa's already richly layered mood.
    • 81 Metascore
    • 80 Critic Score
    Bad Debt [Reissue]
    For an album with a creation tale so bound up in contemporary history, Bad Debt is utterly ageless, like a surviving relic from time immemorial.
    • 72 Metascore
    • 80 Critic Score
    Ghettoville
    Ghettoville is a 70-minute high-wire act, equal parts musique concrète and concrete jungle, its enveloping darkness in tension with a few precious rays of light.
    • 66 Metascore
    • 40 Critic Score
    Have Fun with God
    Compared to Dream River, Have Fun with God sounds like a featureless expanse of echoing congas, with the artist occasionally rising from the depths to sing something that doesn't make sense.
    • 74 Metascore
    • 60 Critic Score
    Warpaint
    Given Warpaint's complex, operatic highs, its experiments in minimalism and tranquility make for some awfully low lows, but there are worse things than a band that seems to be evolving in two directions at once.
    • 71 Metascore
    • 50 Critic Score
    Fading West
    Jon Foreman's ability to write hook-laden melodies remains, and he's an often poetic and perspicacious lyricist, but the themes of redemption and hope on Fading West are too abstracted, frequently degenerating into cliché.
    • 79 Metascore
    • 90 Critic Score
    Brothers and Sisters of the Eternal Son
    The singer's delivery is more pliant than it's ever been, moving from the hushed echo-chamber whispers of "Silver Malcolm" to the fuzzed-out shouts of "Jericho Road." But the real magic is in the melancholy appeal of his daydream, what he calls his "temporary Earth" in "Magic Number," and the persistent possibility of revelation that Jurado catalogues with grim bravado and wry hope.
    • 78 Metascore
    • 70 Critic Score
    Post Tropical
    Post Tropical succeeds in proving that music is often at its most compelling when it can't be compared or reduced to much of anything at all.
    • 80 Metascore
    • 70 Critic Score
    Give the People What They Want
    Give the People What They Want is a collection of songs that not only sees the Dap-Kings reveling in a variety of musical tones, from confident, strutting anthems of independence to slow-burning, intimate ballads, but also displays Jones at her most vocally ferocious, lending a self-assured voice to the down and out.
    • 67 Metascore
    • 60 Critic Score
    High Hopes
    Morello appears on most of the tracks here, and he's largely an enlivening presence, electrifying Springsteen's revolutionary spark, but he still hasn't figured out how to open up a solo without changing the entire tone of a song. Springsteen himself has a similar problem, struggling to deliver pointed social critique without sliding into his comfort zones.
    • 74 Metascore
    • 60 Critic Score
    Wig Out at Jagbags
    It's an uneasy détente in the continuing conflict between its creator's best and worst impulses.
    • 83 Metascore
    • 80 Critic Score
    Rival Dealer [EP]
    Wintry sonic atmospheres, a motley chorus of voices, and a life-affirming message of salvation--intentionally or not, Burial might have just released the best Christmas album of the year.
    • 79 Metascore
    • 70 Critic Score
    Alternate/Endings
    Alternate/Endings succeeds in leaving you both exhausted and anxious for more.
    • 85 Metascore
    • 70 Critic Score
    Beyoncé
    What makes the album significant is the fact that its creator is a bona fide superstar who, apparently, seems to care more about following her creative bliss than scoring easy hits. And it takes her (and us) to some mighty weird and exhilarating places.
    • 49 Metascore
    • 50 Critic Score
    A Mary Christmas
    A Mary Christmas is an undeniably listenable but sadly too-safe hodgepodge of department-store standards, kid-friendly showtunes given glockenspiel-enriched arrangements to seem more festive, and one or two white-elephant gifts from out of leftfield.
    • 74 Metascore
    • 60 Critic Score
    7 Days of Funk
    It's a welcome sign of life from an MC who many assumed to be over the hill, and where it fails, it fails on its own terms--and that's a kind of success in itself.
    • 64 Metascore
    • 40 Critic Score
    Because the Internet
    Bloated with all manner of interstitial suites and assorted skit-like stopgaps, the 19-track Because the Internet could serviceably represent the titular web Glover finds so perplexing.
    • 61 Metascore
    • 50 Critic Score
    Black Panties
    The onslaught of bawdy imagery eventually grows tedious, but there's something compelling about witnessing one man's psyche laid so completely bare, a crazed prophet whipped into a frenzy by the ecstasy of his own sin.
    • 68 Metascore
    • 50 Critic Score
    Drive All Night [EP]
    Whereas the rest of the EP feels contrived, with Hansard coasting on grade-school-level insights into romance, the title track captures the controlled intensity that's been a signature of Hansard's dusty troubadour aesthetic.
    • 65 Metascore
    • 70 Critic Score
    Nina
    The album's energy grows out of a band taking chances, and while not every reimagining works, there's something satisfying about listening to a group of artists crash head-on into an experiment and find clarity among the fragments.
    • 68 Metascore
    • 50 Critic Score
    Sum/One
    As a producer, DeGraw's sonic instincts are nearly beyond reproach, his carefully sculpted synthscapes frequently gorgeous and never boring. But maximalist excess afflicts too much of SUM/ONE, to rapidly diminishing returns.
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