Overall this album is Hynde's most adventurous experiment to date, opening new autumnal terrain for one of rock's greatest voices. [Sep 2019, p.85]

Randolph's evocative pedal steel soars reliably as his assured vocal attains new peaks of emotive character. [Sep 2019, p.87]

This is his best record yet. [Sep 2019, p.87]

Powers is a confident and welcome comeback. [Sep 2019, p.86]

This slick trio from Dripping Springs, Texas add cloying twang to yacht-rock tropes to asset-stripping effect. [Sep 2019, p.87]

It's music to glue your arse to a Barclays to. [Sep 2019, p.84]

This, almost surreally, is only their seventh album and contains not a dull moment. [Sep 2019. p.83]

Fear Inoculum is an intricate record that calls for you to reserve judgement until you’ve been fully immersed. It might be long (running to 86 minutes) but it’s a worthy investment of your time. [Sep 2019, p.82]

While the album is destined to remain underground, you just know Childish is in his element right there amid the grit and grime. [Sep 2019, p.84]

Arnold's new tunes are belters. ... This album should do the business. [Sep 2019, p.85]

Despite its nonlinear creation, the album is one of their tightest and most consistent in years. [Sep 2019, p.83]

As bananas as it is brilliant, Face Stabber is a poke in the eye for anyone who says guitar bands are running out of ideas. [Sep 2019, p.83]

A polished vista rock for anyone in urgent need of a Foos stopgap. [Sep 2019, p.83]

Wonderfully cohesive hour of vein-popping indignation. [Sep 2019, p.82]

Nobody will pretend Atonement is a classic. But it is firmly fired up. [Sep 2019, p.82]

Frontman Stu Mackenzie nails a Hetfield-esque gurgle from the galloping, squiddle-spattered opener Planet B, and it’s hard to resist the rat-a-tat riff and stuttering vocal of Self-immolate or the insistent turbo-Sabbath churn of Mars For The Rich.

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce.

Every aspect of the band's sound coalesce on a series of stunning songs that have massive melodic grace and power. [Aug 2019, p.84]

A towering testament to a much-missed band. [Aug 2019, p.84]

Despite its lack of Pistols and Clash this is an accurate representation of the year punk broke, which wasn't quite as great as all those of us that were there like to pretend. [Aug 2019, p.88]

Producers Andy Zax and Steve Woolard have considerably expanded available sets by Richie Havens, Sha Na Na, Janis Joplin, Mountain and dying-a-death Incredible String Band; but analysis reveals more often just adding one extra track, albiet good ones. [Aug 2019, p.90]

Craft's previous work suggested he might have an album in him which is as wry as it is earnestly heroic. This is it. [Aug 2019, p.80]

The barrage of noise that results is undeniably epic, oddly stirring and gloriously daft. [Aug 2019, p.81]

A Violent Femmes album is always a treat; witty, lucid, self-deprecating, beat-up but ever-reliable. ... Hotel Last Resort is all of that. [Aug 2019, p.95]

Southern rockers like Under The Gun, Get Yourself Together and Breaking Down are as infectious as mad cowboy disease. When they do branch out, it's into Fleetwood Mac gossamer balladry and adorable Stealers Wheel soft rock. They'll find that the world has not changed the locks. [Aug 2019, p.83]

Servants Of The Sun is their most cohesive, joyous and beautiful record yet. [Aug 2019, p.82]

For all its psychedelic abstraction, King's Mouth is often melodic and warmly accessible. [Aug 2019, p.80]

Difficult to separate the jokers from the aces. [Aug 2019, p.80]

Dazzling, daring stuff. [Summer 2019, p.86]

Atmospheric, cinematic, dramatic, evocative. [Summer 2019, p.87]

While it might lack the golden glow of Shiflett's regular band, it's happy to bask in a bourbon haze a few seats along the bar from Blackberry Smoke and Whiskey Myers. [Summer 2019, p.86]

Great work. [Summer 2019, p.84]

It all makes for an entrancing half hour. [Summer 20219, p.86]

The whole thing sounds like a great lost album. Which of course it is. [Summer 2019, p.93]

Lacks the energy of old Rammstein, but makes up for it in controlled tensions and excellent material. [Summer 2019, p.87]

It's hardly essential, but not without charm. [Summer 2019, p.87]

Some space is wasted--the album would feel more concise without the ambient sonic interludes it's peppered with--but when they hit their stride, as on the magnificent Throw Me An Anchor, Baroness seem unstoppable. [Summer 2019, p.86]

Another album, another triumph, then, and rarely more richly deserved. [Summer 2019, p.84]

It's getting late, but Springsteen's dusty art shows no sign of fading. [Summer 2019, p.84]

Taken in a single sitting, the rewards from this record are manifold. [Summer 2019, p.83]

While the album Widow's Weed has all the usual heavily layered atmospherics, there's an even inkier feel than before. [Summer 2019, p.83]

With Shooter Jening's outlaw holler and Sheryl Crow doing her backing-singer bit, the results are country slick but the execution is flawless. [Summer 2019, p.82]

[L7] still sound as toxic and ornery as ever, their songs sharp and savage, their solos short and sweet, their vocals still capable of freezing testicles at 50 paces. [Summer 2019, p.82]

Rise is long, sprawling, rather unfocused record that could have done with editing down to the strongest points, but when Hollywood Vampires are good they distil the spirit of classic rock as effortlessly as you’d hope from men of Cooper and Perry’s calibre.

The result is enough to refresh the palate of even the most jaded garage-rock fan. [Jul 2019, p.84]

A relentless stream of strong, sinewy riffs and blistering solos. ... It's just a shame he doesn't trust his own voice more. [Jul 2019, p.85]

AntiKpop, anyone? [Jul 2019, p.85]

As ever, and in the best sense, Farrell aims high and wide. [Jul 2019, p.80]

Much of the mid-section is spent down in the bayou with an acoustic guitar. ... Sink in. [Jul 2019, p.82]

What is surprising is just how good it is. [Jul 2019, p.82]

It's a credit to the line-up's combustible chemistry and Setzer's twinkle-in-eye storytelling that these songs feel fresh and often thrilling. [Jul 2019, p.84]

Packed with pop nuggets and the odd surprise. [Jul 2019, p.81]

A little unwieldy in places, but still pleasingly timeless. [Jul 2019, p.85]

A competently executed, if indulgent. [Jul 2019, p.85]

A breezy, funky prog-ssych knockabout. [Jul 2019, p.83]

Act Surprise is a very decent return indeed for the trio. ... A record bristling with merit and a validating, electric sense of urgency that it be made. [Jul 2019, p.82]

Destroyer may shake and shudder but it never falls apart. [Jul 2019, p.81]

She can sound like Stevie Nicks lost at the Whitby goth weekender. Otherwise, as always, Stina's vexations are our pleasure. [Jul 2019, p.81]

Overall this is worthy addition to the Cale catalogue. [Jun 2019, p.85]

Sweet, potent vignettes of American folk storytelling. [Jun 2019, p.89]

Overall, it's a pleasant album and one that covers a lot of bases. [Jun 2019, p.86]

As you'd expect, musically they're full-tilt melodic punk rallying cries, with the warmth of Greg Graffin's vocals contrasting beautifully against Brett Gurewitz's barbed riffs to suggest there's still a chance for redemption if we stand up and fight. [Jun 2019, p.86]

Uncompromisingly creative, it's an album designed with the absence of neighbours in mind. [Jun 2019, p.87]

Social Cues feels like the sound of a great band in desperate need of some down time. [Jun 2019, p.88]

Longtime fans of the band's intense, neck vein-popping hardcore rock'n'roll have to hunt and peck their way through this album to find the good stuff. [Jun 2019, p.89]

This is shiny modern rock with a scuffed heart and a sense of constant restlessness of spirit. [Jun 2019, p.89]

Serf's Up!'s sonic exploration heralds a more colourful new dawn for the Fat White Family. [Jun 2019, p.89]

Sprightly mid-life Americana. [Jun 2019, p.89]

Doherty himself remains endearingly cack-handed and poetically confessional but uncontrollably wayward. By the final third, the band appear to have given up and gone to the pub. [Jun 2019, p.84]

This thirteenth album finds them starting to sound like a band who deserve the billing [at Alexandra Palace]. [Jun 2019, p.85]

Back in the saddle as bandleader, his tangible labour of love defiantly captures old-school New York’s cross-pollinating melting pot with rich infusions of Latin (Party Mambo), blues (I Visit The Blues), blaxploitation (Vortex), classic rock’n’roll (Superfly Terra Plane), Southside Johnny And The Asbury Jukes (Soul Power Twistin’) and still making a social point on Education.

Old timers and newcomers are invited to reconsider latter-day entries in the Stones hall of infamy. While Doom And Gloom and the sparring couplets of Rough Justice warrant rehabilitation, Streets Of Love’s overblown gaudiness typifies the quality dip that closes disc 2.

The Leeds-launched provocateurs still sound sharp and lean. [May 2019, p.88]

The Medicine Show is her biggest-sounding album this century. [May 2019, p.84]

Like the best Stones songs, there’s never any dating Keith’s immortal spirit, and Talk Is Cheap holds its head high as it relentlessly reaffirms that that was indeed some knife.

Noise & Romance offers a much more disjointed, disorienting and unpolished experience. [May 2019, p.84]

Historically priceless, but intrinsically one for the fans. [May 2019, p.94]

A stylish lo-fi gumbo of grunge, punk and indie. [May 2019, p.89]

You still have a man born with the gift of a sandpaper voice, which seems to shred itself afresh with every word. [Apr 2019, p.84]

He's done his old boss proud. [May 2019, p.89]

An album balanced precariously at the tipping point between disillusion and creative rebirth, and all the better for it. [May 2019, p.88]

Sunwatchers' third album takes no prisoners with squealing opener New Dad Blues,. [May 2019, p.87]

Wraith wrestles drums, bass, guitars and trumpet into sinister electronic shapes informed by towering noise makers such as terminal Cheesecake and textural experimentalist James Holden. [May 2019, p.87]

It's a relief to find this eighth album bounding up to the gates waving some fresh ideas. [May 2019, p.87]

All bets are off, all doors open and consciousness is expanded. [May 2019, p.86]

There's a sort of crazy idealism to their music which brings them tantalizingly close to such sources, while becoming increasingly indomitably themselves. [Apr 2019, p.84]

Resist is more an evolution than a revolution in the band's sound, which tightens up and augments everything that was great about 2014's Hydra. [Feb 2019, p.91]

A disappointing mess. [Apr 2019, p.89]

A surprising distillation of longing, memory and loss. [Apr 2019, p.88]

Hexed isn't a repetition of what's gone before, and sounds reasonably fresh. [Apr 2019, p.89]

These songs are well worth revisiting for turn-of-the-century emo kids reminiscing on their misspent youth. [Apr 2019, p.95]

An atmospheric yet strutting cocktail of dark romance, louche sax lines and bluesy grit. [Apr 2019, p.89]

King monkey contemplates his navel. [Apr 2019, p.89]

A quaintly dated second set haunted by cliche. [Apr 2019, p.89]

Dark, twisted, twisting. [Apr 2019, p.89]

Blue Sky is 33 minutes of fearless, peerless and unvarnished brilliance. [Apr 2019, p.88]