If your bag is relentless hectoring from five angry, tune averse firebrands, feel free to have at it. Doubtlessly great live, though. [Apr 2026, p.81]

It turns out these eternal survivors have gone out with neither a whimper nor a snarl. [Apr 2026, p.76]

It might not be essential, but it's not without merit. [Apr 2026, p.80]

A few more enticing tunes within the mix might really elevate them to a higher plane. [Mar 2026, p.78]

It's the sound of a man and his chums enjoying each other's gifts as they rattle out some slightly scuzzy slices of rock delight. [Feb 2026, p.78]

As a collection, Anthology 4 charts a parallel path through the Beatles’ career, one with a tacky postscript in the 21st century. As a Beatles record, it is not very good, offering nothing exciting in terms of rarities (wow, the “strings only” version of Something from the Abbey Road 50th anniversary edition) or insight. [Dec 2025, p.84]

It only ever recalls a fuzz-jangling, beefed-up Sundays is surprising, but yeah, it'll do. [Dec 2025, p.79]

For The Sake Of Bethel Woods confirmed that they are not the band they once were but A Bridge To Far flows directly on from there with many of the songs more theoretical in nature. [Dec 2025, p.78]

The drunken waltz of Bad Reputation offers a few minutes of interest, but the album fails to adequately raise the temperature. [Nov 2025, p.81]

Some reasonably good live music (Elephant’s Memory bring to Lennon’s music a bluesy heaviness that sometimes suits it and sometimes doesn’t), some intriguing demos (arguably the best material here, whether it be rare Lennon originals or decent rock’n’roll covers) and most of Some Time In New York City, an album that suffers from: a) being terrible, especially The Luck Of The Irish, a song that makes Ed Sheeran’s Galway Girl sound like The Chieftains), and b) the omission of its one great song, whose title means it has been excised from the album. One for the history buffs. [Nov 2025, p.84]

The result, albeit low-key, is a charming, warm-hearted collection. [Oct 2025, p.79]

A collection of songs so sugar-coated it should probably have been packaged with insulin. [Oct 2025, p.72]

They're clearly having a blast, in every sense - there's enough noirish sarcasm to make that clear - but there's also a punk nihilism at play that makes this debut album a compellingly unsettling listen. [Sep 2025, p.77]

Universal platitudes makes Ricochet feel like Disney-fied protest compared to some of the thornier acts and topics grabbing headlines right now, but there's no denying the message of unity is on point. There's a maturity to Ricochet's sound. [Sep 2025, p.81]

Employing rhythmic sideswipes, jarring guitar clangour and dub bass frequencies through a production filter marked 'Mud'. [Summer 2025, p.79]

Its shorter, pacier tracks up the dynamism, making for a pummelling - if somewhat relentless - experience as deep-strata hardcore tracks like Detroit and Blackage shift gears into more ponderous interludes. [Jun 2025, p.72]

Their hearts are in the right place, but their percussion needs pumping. [May 2025, p.79]

It's an album outside its own time, designed to intrigue the dedicated few rather than service the content-consuming many, and if nothing else it's bringing the art of enigmatic charisma back to the world of rock. [Apr 2025, p.74]

Long on delicately gauzy, seductively shoegazey atmospheric, but short on whup-ass. [Apr 2025, p.77]

Universe Room continues the indie-prog leanings of last year's Strut Of Kings, as though R.E.M were dipping into the less coherent corners of Tommy and Nursery Cryme, but across its 17 tracks finds time for plenty of lo-fi diversion too. [Apr 2025, p.72]

The streak of familiarity that runs through the album is down to the way songwriters Wesley Schultz and Jeremiah Fraites construct their folk-pop melodies and arrangements, but they've given their sound a fresh impetus. [Apr 2025, p.70]

There’s a rejuvenated feel to this reunion album of the ‘dream team’, which is themed around the impact of sleep disruption from sleepwalking to nightmares. [Mar 2025, p.77]

Stephen Lawrie grumbles dutifully over the anticipated Spacemen 3 guitar squalls, and tracks like Shake It All Out and This Train Rolls On do their traditional misery-in-motion thing. Nothing Matters suggests an out-take from Iggy’s The Idiot that was ditched for resembling Dum Dum Boys too closely. [Oct 2024, p.74]

Things take a kitschy turn for the sickly sweet. [Dec 2024, p.79]

This isn’t completely terrible – duets with Willie Nelson improve anything – it’s just frustratingly unessential. [Dec 2024, p.75]

Differing from its predecessor by visiting 2021 studio album I Don’t Live Here Anymore (notably on Harmonia’s Dream) and showcasing a seven-piece band, there’s trickery afoot: some tracks are spliced from multiple takes. It’s hard to argue with the hugeness when it hits though. [Dec 2024, p.74]

Dud tracks are unfortunate, as Come Ahead does contain some pretty decent music when everyone involved puts their minds to it. But even the album’s title - an old Glasgow colloquialism that basically translates as ‘Yes, I would like to fight you’ – fails to measure up to its intent as a triumphant comeback. Primal Scream: don’t remember them this way. [Nov 2024, p.74]

The nagging sense remains that way too much effort has been put into reinterpreting other artists’ material instead of writing their own. [Nov 2024, p.76]