The widescreen sound suits this career solo artist, and standouts like Boombox and Ten Watt whip up a rollicking hoedown ambience. [Jun 2024, p.75]

Bags of melody, plenty of light and shade, and great songs. A cosmic triumph.

This set contains some wastage, but more than enough demented brilliance to merit serious consideration. [Aug 2018, p.96]

For all of its freshness, there are clear influences at play here, most notably The Banshees or Yeah Yeah Yeahs. [Summer 2013, p.95]

A must-hear for fans of glorious, horrible noise.

A vivid multi-generic maelstrom of alt.ingenuity. [Oct 2020, p.87]

This River is all gravy, and the perfect opportunity to make your acquaintance with an artist at the top of his game. [Summer 2013, p.95]

By-the-book, yes, but still a page-turner.

Temples' fourth leaps from the speakers tapping veins of electro-psych, hypno-kosmische and soft-focused unreality. [May 2023, p.81]

Powder Dry is a new career peak. [Aug 2024, p.73]

When You Found Me combines top-notch musicianship and expert songcraft with bags of brooding atmosphere, with Lucero clearly at the top of their southern-rocking game.

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]

A clutch of powerful original songs. [Sep 2022, p.76]

Carries a deliciously tight-but-loose quality that makes you feel that this album could've been thrown together by friends, who just happen to be shit-hot musicians. [Sep 2020, p.84]

Not just faster, but harder, too. ... Best of the lot is Loud. [Nov 2021, p.75]

[Patti Smith is] in her element. [Oct 2020, p.83]

Brilliant. [Summer 2013, p.95]

With intelligently handled subject matter to stand alongside the likes of Bikini Kill, and sparkling but off-kilter melodic skills that allow comparisons to Yeah Yeah Yeah’s Karen O, Gender Bender has empathy to spare, and is a punk rock poet to believe in.

An album that equals the original. [Apr 2025, p.77]

Be Right Here retains the simple formula that has made the band such a success: songs, tons of songs.

The live disc, a partial retrieval of a concert at the Olympia Theatre in Paris in May 1971, reminds, despite its rawness, of The Band’s unmatched on-stage brilliance and the legacy they’d already built up with the likes of Rag Mama Rag and The Night They Drove Old Dixie Down. ... Among the out-takes, Bessie Smith is a further indicator that their sense of American ‘roots’ was fully integrated.

Thoughtful, compassionate, heartbreaking and more, it's a record that is above all, deeply human. [Jul 2023, p.84]

It's starkly, scarily beautiful and transcendent in places, chilling yet comforting in others. [Apr 2025, p.75]

It's the sound of a band returning to the apex of their creative potency. [Oct 2022, p.71]

Finely balance between rock and pop, Blood Red Roses showcases some of Stewart's best work in decades. [Oct 2018, p.82]

It’s the ever-present hint of neurosis in Rivers Cuomo’s voice and vaguely bi-polar lyrics (thankfully not produced using the cut-up technique he employed for last year’s self-titled release) that give this band their perennial edge of strangeness, and reaffirm Weezer’s unique place in American rock fans’ affections.

Eleven years into their career, Tesseract are still thriving. [Jun 2018, p.91]

There's still a rich seam of experimentation, but with more palatable results than has often been the case. [Jul 2013, p.95]