Here are a few nice reviews, in no particular order.
 
Hip Hop Connection:
"Beautifully plucked guitars, interesting drum patterns and a lightness of touch that comes as a total refreshment after listening to the Nelly single three times in a row with no brain response whatsoever. You could make a case for this being instrumental hip-hop a la RJD2 but it sways more towards the folktronica of Four Tet."

The Wire:
"...the album is packed with duvet-snug melodies. This is abstract electro pop sculpted as a space for reminiscing, the beats and layers a comfortable bed of memories. An album for headphone escapism. Like Boards of Canada, the melodies have an abstract, dislocated sadness that slowly seduce you with their meandering grace. Luxurious and tranquil synth pads are packed with emotional detail, even when they do nothing more than sketch out brief circular contours. What's lost in dynamics is made up for in textures drenched in nostalgic overtones. Prefuse 73 is an obvious reference point for the cut up vocals on Load Line, but this is miles away from the start-stop tendencies of Scott Herren's work. Vocals here are not brutally rewired, just teased and caressed. Towards the end of the album there's a brief, poignant monologue of an old timer remembering his generation's brand of dance music. It raises the question of Load Line's own relation to dance music, to which it owes all its devices, yet feels as far away from a dance floor as a science station at the North Pole. One imagines Ed Carter holed up in a cosy shack, reminiscing about old chillout albums with his synths and samples in a MIDI'd up conversation. But what these slow, elegaic melodies really mean to him always remains tantalisingly unstated."

Sandman:
"Five gentle collisions of reverb, acoustics, blips and beats that like a fairy tale, warm your cockles, and then without warning, reveals a goulish heart and send a shiver up your spine. It's smokey and oakey in a way reminiscent of Four Tet and Andy Votel of Twisted Nerve."

TheMilkFactory.co.uk:
"While Load Line investigated a series of broken hip-hop settings, gaining comparisons with Prefuse 73 and Boards Of Canada, WNA's Ed Carter relies on more acoustic sound sources to flesh out the delicate beats found on Mercator... this five-track EP is gently cinematic and conveys pastoral mental imagery of fields in bloom and pristine blue skies as acoustic guitars, laidback grooves and found sounds cross paths. Carter sculpts intricate beat formations and adorns them with breezy melodic structures, underlined with discreet electronic touches, revealing a true passion for proper musical themes. Carter takes time to fully develop his compositions and explore variations on melodies and soundscapes, resulting in this EP feeling at once fresh and accomplished. Nothing is left to chance here. The man articulate his sound sources with great care, patiently building his tracks until they stand alone. The result is an impressively mature and skilful collection..."

FACT magazine:
"From the same school as Prefuse 73, Boards of Canada and Shadow (sharp beats, dusty lo-fi production, enchanting melodies). I don't know much more about Winter North Atlantic, save for the fact that they've produced a rather lovely LP that you should really seek out. Forthwith."

PopMatters.com
"The second release by Sheffield, UK's Ed Carter is named after a controversial 16th century mapmaker. That should give you an idea of the intellectual, precise post-rock instrumentals within. "Transport" is nicely reminiscent of Ry Cooder's Paris, Texas work"

Sheffield Telegraph
"Carter's strongest solo work to date...Winter North Atlantic's debut album Load Line received warm reviews from the likes of specialist electronic journal The Wire and attracted comparisons with Prefuse 73 and Boards of Canada. Mercator, meanwhile, has progressed into more natural sounds and live instrumentation, suggestive of Can with the musicality of early Four Tet."

Sheffield Star:
"A stunning first full album... a lo-fi yet sophisticated collection of songs with many flavours."

Blowback:
"This is no way as bleak as the name suggests. Jazzy vocals sit over minimalist electro bleeps, not cheap Ikea minimalism either, sexy white expensive minimalism. This is something to be proud of, standing the moral electro ground, it's an amazing digital patchwork."

Sheffield Telegraph:
"Carter has put together a 12-track album that not only manages to encapsulate the icy waters of the album title, but also throws in cutting edge electronica, a bit of vintage humour and even a delightful acoustic interlude... It's an album of wonderful contrasts and yet another excellent addition the the Giovanni Chrome label."