Stunning. [Jun 2020, p.89]

Their heaviest, most memorable and most wildly animalistic material to date. [Oct 2018, p.83]

Capped by the sublime You Trip Me Up, even in 2014 Psychocandy was a visceral burn around the very edge of listenability.

All four musicians have their moment in the sun to shine, while their closing take on Joni Mitchell's Woodstock bring things circle. [Nov 2018, p.83]

While everything here echoes its maker's past, it all sounds new. ... The Boy Named If (And Other Children's Stories) is excellent. [Feb 2022, p.78]

Quality workmanship. [Mar 2024, p.82]

Dense and demanding, Soused will not be topping the album charts. But it is the kind of obliteratingly intense, glamorously weird avant-metal epic that Lou Reed and Metallica never made. [Nov 2014, p.94]

Wasteland's conceptual breadth, depth and complexity may challenge convention but offers rich rewards. [Feb 2021, p.87]

Refreshing, so refreshing - like a glass of ice water on a hot summer's day. [Dec 2024, p.72]

Choice cuts from an incomparable half century. [Oct 2025, p.87]

Jack Wyllie's sax and Laurence Pike's drumming keep the feel raw and live throughout. [Oct 2018, p.89]

Futurology isn't just the best album the Manic Street Preachers have made this century, it's arguably the best album of the year. [Aug 2014, p. 206]

The music is taut, compressed and, in places, vulnerable and beautifully resonant. [May 2018, p.90]

A record imagined in youth, realised in maturity and vibrating with the thrill of possibility. [Apr 2026, p.75]

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

It's the veteran's session, and with that stentorian voice Sweet Georgia Brown and I'm Just A Lucky So And So are highlights that warm any room you play them in. [Jun 2023, p.77]

This is a strange kind of beauty. [Summer 2018, p.88]

settle back, we'll be here a while. [Jan 2022, p.85]

If only all music were this thrillingly inclusive. [Jun 2026, p.72]

Existence Is Futile is vintage latterday Filth. [Nov 2021, p.72]

Bradfield’s invention knows no bounds as he shines light on the darkest corners of history.

Tumultuous, trippy and brilliantly untamed, Sonancy is a magnificent comeback.

In some ways the club-sized audience helps Hendrix, who hated large open-air shows, and he’s positively chatty at times on the first set, which includes a feisty In From The Storm and a trebly-sounding Foxy Lady. The second set is looser and in danger of falling apart at times, before Hendrix wakes up and rips through Stone Free.

Washes of keyboards, a thunderous tattooing of drums and great, empty atmospheric spaces make for an inestimable, all-consuming listen, not least in the fragile-sounding Lacuna/Sunrise and the roiling I.M.S.

When he's not letting loose with some typically emotive soloing on this mix of covers and originals, his voice is still every bit its equal. [May 2020, p.77]

Predictably lyrically recherche, self-consciously Fall-esque and potentially driven by weapons-grade PTSD-ah. [Jul 2023, p.86]

If you don't like jazz, this is another Metheny album that might change your mind. [Apr 2026, p.81]

Rich in reference to Greek mythology, teeming with restless spirits in various stages of rapture and sorrow. All this might suggest heaviness, but the music is unfailingly rhythmic and melodic, often sophisticated. [Apr 2026, p.79]