By The Fire is a massive antidote to our age. [Oct 2020, p.87]

As a close-quarters portrait of a singer-songwriter at a relatively early stage of his ascension to true greatness, it's hard to beat. [Feb 2014, p.97]

A solid addition to the canon, but not quite a classic.

Among their best albums in a 30-plus-year recording career. [May 2020, p.76]

It makes for a lustrous, laid-back return that will frustrate those pining for Costello's brutal youth, but it befits his gracious age beautifully. [Oct 2018, p.85]

Dose Your Dreams is fucking ace. [Oct 2018, p.85]

I Hate Music is a fine addition to the canon, a little samey in places but it sweeps you along with its clattery blast and warm melodic hooks, [Sep 2013, p.93]

Collects three albums and apposite era odds 'n' sods. [May 2021, p.97]

Playing Favorites lacks the career-defining standout that will catapult them into a bigger league, and sometimes the whole is less than the sum of its intriguing parts. They're well on their way, tough. [May 2024, p.73]

For serious fans--and them only--this album is a revelation. [Oct 2018, p.83]

Perhaps Korn's best album this century. [Oct 2019, p.89]

An absolute blast. [Sep 2024, p.68]

A fascinating and entirely listenable record of an imminently great talent. [Sep 2022, p.80]

Berlin is Kadavar 2.0; cleaner, more inventive production, broader palette (although still 70s-centred), stratospheric energy.

A whole album at 100 mph needs skill at the wheel not to start sounding slow, and for all the sensation of manic burn-out, every track has disciplined intricacy, using hairpin turns and jolting tape-slices to sculpt the gush of drums and feedback into prog-garage shape.

He's in fantastic, youthful voice, snarling, seducing and showing off. [Mar 2020, p.93]

A re-engerised record that sits comfortably next to is 'N' Hers and Different Class. [Summer 2025, p.73]

Lanegan is on daring and seductive form throughout. The Passenger-lite Emperor misfires but that’s forgivable with a strike rate this high.

It can't and shouldn't replace the original, but this is a fascinating insight into the band's creative process and latter-day regrets. [Dec 2025, p.79]

As The Love Continues sees Mogwai’s voyage into sound progress in a stately manner as tracks like Here We, Here We, Here We Go Forever and the misnomered Fuck Off Money tread an unlikely fine line between waft and heft.

He tops it [2021's Blue Hearts] with Here We Go, thanks to a stripped back approach and a more hopeful lyrical tone. [Apr 2025, p.76]

Live, earlier material, Welcome To The Occupation and Me In Honey especially, benefits from an increased aural muscular density, while several songs from Monster itself pack a greater punch than the studio versions. [Dec 2019, p.90]

When You’re Depressed is the jauntiest, most real song about depression since Paint It Black. Zelda’s In The Spotlight recalls genius early Mute made-up childlike electro-pop band Silicon Teens. If you can resist an album that features a glam-stomp titled 12 Knickers On The Line By 3 Chord Fraud you’re a better person than I am.

Restored and mixed by Giles Martin and Sam Okell – who worked wonders with The Beatles’ Get Back footage – it’s a pristine listening experience, with little between-song chat. It showcases Creedence Clearwater Revival’s many strengths.

It's senses-batteringly wonderful. [Aug 2024, p.70]

Songhoy Blues bring a joyful defiance to Music In Exile that transcends the language barrier.

Throughout, Williams walks the line between tough and tender, just as she cleverly negotiates the path dividing heartland American music and the alternative, counter cultural variety. [Dec 2014, p.106]

A case of more darkness required. [Mar 2015, p.94]