Here are a few nice reviews, in no particular order.
 

Bleep43:
"I’m always hesitant to apply common epithets to music that makes a real effort to sound unique, but fans of Thrill Jockey material and the more pastoral aspects of UK folktronica (a truly ghastly term) will find much to savour here on an album that displays much sophistication.

The 11 songs all have a lilting, shifting ambience to them, and Carter seems to revel in trying to find that narrow path between disquiet and genuine elation, his production skills finding little tweaks in the sound field that often makes for somewhat hallucinatory listening.

Carter’s choice of instrumentation and production skills have created a glistening sound world that grabs your attention... a little gem here - this is a smart, unusual album which takes a interesting concept and applies it with deft skill."

Chroniques Electroniques:
"A Memento for Dr. Mori is an album with an undeniable charm. Ideal for the autumn evenings to come, agreeable as a good open fire. Without any pretention, Ed Carter succeeds in producing an album which is accessible even to those who are not used to electronic music. Lying between pastoral pop, tasteful IDM and wandering folktronica, this disk is more than interesting. You could imagine yourself right out in the country with its snatches of pure nature which appear from time to time. Despite the slightly aged analogue material used, this album is perfectly of its time with clear sounds and production.

The adventurous glitched melodies sometimes drift towards a very tasteful hip-hop. Bokor reminds a little of RJD2 or Blockhead with its mariachi guitars set in a sleazy Culiacan bar. This approach seems to be even more successful on the excellent Kinay 816. So here is another excellent album to Boltfish's credit. Full of deceptively naive soothing virtues, this work is literally brilliant and can only convince lovers of high quality downtempo electro-acoustic fusions."

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."

Seewhatyouhear.com:
" Beautifully crafted sounds from a Sheffield artist who combines elements of IDM with guitarmanship inspired by commercial shipping, of all things. Elsewhere (’Cat Yeah’) there is a synth that brings to mind Boards of Canada but the sparse and tranquil qualities of 'The Maid' deserve better than obvious comparisons.

ProperlyChilled.com:
"...the vibe on Mercator is more along the lines of Bonobo and Blue States on their respective first releases. Lots of melodic acoustic guitars and downbeat chopped drum beats. Strings quiver in and out on "Ode-B" along with a nice guitar melody that floats along as dark undertones fade in and out. "3159" has a nice Spanish guitar lead that is instantly catchy.

Don't be fooled into thinking this is instrumental guitar music. The beats are abstract hip-hop (hence the DJ Shadow refences) but keep away from distracting cut-ups.
WNA is definitely a downtempo mood setter and uses acoustics and electronics together in a seemless mixture that 'heads' will nod along with.

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."