One of the year's best releases, remix or not. [#241, p.71]

There is no fake authenticity in this musical exploration, and Herren's musical palette is impressively wide ranging. [#241, p.63]

Continues along lines that Stereolab have been laying down since the late 1990s: motorik drumming and a swish of keyboards tarversing a linear landscape, with the emphasis on Sadier's laconic, dewy vocals. [#239, p.65]

Evokes the same stark, road weary melancholy as Ry Cooder's score for Paris, Texas, but with a far more extensive sonic toolbox. [#240, p.57]

It's the wealth of unexpected production touches crammed into its 25 minutes that really bring Maryland Mansions to life. [#240, p.72]

Closer works best instrumentally, as a sonic depiction of the mind, as a dark voyage into inner space. [#236, p.64]

Stands as a monument to punk rock action at its most intelligent. [#236, p.60]

The album becomes more experimental and confident as it progresses. [#236, p.59]

A quietly masterful concoction. [#236, p.62]

Some of Out Of Season's lyrics are almost too impossibly idealistic and airy fairy to carry off. [#226, p.54]

It radiates with a confidence fuelled by acolytes and its fun is infectious. But... the angry cynicism coursing through the album creates a distance between its maker and the listener. [#237, p.53]

Contrasting epic, experimental freakouts with concise chamber music, 5 is a diverse album, full of gems bleeding with icy brilliance. [#235, p.69]

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]

Displays more intellectual rigour, subtle discipline and attention to detail than many of their younger contemporaries can ever dream of attaining. [#235, p.56]

Impressively raucous. [#240, p.68]

Juggles multiple ideas of modernism with unusual grace and success. [#234, p.53]

This is Pole at his most expansive and communicative. [#233, p.69]

New York Noise is exemplary: the right mix of 'hits' and obscurities. [#233, p.71]

Initially sounds nothing special but gradually crawls into your subconscious and sets up home. [#233, p.72]

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

Has a lot more of SF's itchy electro-Techno fizz than it does 'proper' HipHop beats. [#231, p.75]

Band Red suggests they have reached meltdown and anybody encountering their post-punk roar would be advised to stand well back. [#243, p.74]

Delicacy replaces density here, but his capacity to unnerve remains on these sedately mournful chamber pieces. [#231, p.74]

The only problem with Politics of the Business is that there are too few of the loose ends and lateral leaps of, say, Three Feet High. [#232, p.69]

Frankly, the guy defies you not to be impressed by what he's got. [#234, p.53]

As Four Tet, Hebden has devised a musical identity that is distinctly different from his work with Fridge, but both projects share a passion for defying boundaries. [#231, p.60]

For all the homemade, quirky charm on show here -- and the album has plenty of wide open, lyrical moments -- Ether Teeth leaves behind a lingering, moody, melancholy aftertaste. [#231, p.60]

Isn't so much a leftfield perversion of HipHop as it is a restoration of the genre to its avant garde roots. [#231, p.67]