The Chemical Brothers' second album is likely to please a number of electric tastes. It seldom rises above a good beat, but then it doesn't need to.
Squarepusher produces another solid album without pushing any boundaries. The beats are as intricate as ever, whilst the melodies keep their charm.
Strung together with downtempo drum beats, silky basslines, warming pads, and soulful vocals, it’s a very consumable album with little to jolt listeners' senses.
Twisting and turning and purposely blindsiding its listeners, Garden of Delete doesn’t stop evolving, often feeling like a stream of consciousness in musical form.
It’s beautifully discreet, formed with an elegance that pushes it to the point of invisibility — blissful for some, but perhaps too despondent for others.
While there’s little wrong with any of the cuts, the album in its entirety can feel a little half-baked. An extra push could have made this Williams' defining work.
Melding orchestral and jazz samples with beats that surge tracks forward, Dummy remains intriguing for the listener throughout. An iconic album.
The Eraser is a wonderful listen that comes with some baggage. If you’re able to handle its intensity, it’s actually a very beautiful record.
Fans of Blake's stripped back vocal/piano tracks are served well here, with the title track a particular highlight.
For an album that clocks in well over the hour mark, it’s regrettably unambitious and even a little safe. This is effectively James Blake on autopilot.