Corsicana Lemonade flips through a crateful of classic rock tropes, yet sounds spankingly "now." This extraordinary foursome just go from strength to strength. [Dec 2013, p.98]

Coathangers drives home the prevailing sense of compositional attitude meeting musical affirmation. Bravo! [Nov 2013, p.88]

Silence In The Snow is not a classic album, but this puts Trivium firmly back on course.

Everybody Come To Church is designed to be repellant to the bovine majority, but if the world’s going to burn, it comes as a perfect soundtrack.

If Bowie gave Hunter the confidence to steer Mott through the hits that started with Honaloochie Boogie and opened up his solo career, the trials and tribulations of the subsequent 42 years have put him in a solid position to dish out sage advice and put cockier elements in their place, which he does on the opening That’s When The Trouble Starts and closing Long Time.

Certainly no nostalgic fad celebration, this epic collection is more like a stellar overview of the last century’s more vibrant and often overlooked darker-hued rock, cast among a hell-spawned panoply of lesser-known pranksters.

As mood music it’s a stunner, the perfect complement to a lost weekend plotting your next Ubermensch moves in a haze of opium. But you can’t dance to it, that much is for sure.

The four-piece have lost none of their bite. [Jul 2018, p.86]

It's not a perfect body of work--perhaps these songs stretch in too many directions to really function as a cohesive whole. [Jul 2018, p.86]

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

When a collection of contrasting voices tackle [Mose Allison's] songs for charity here, it's that character of songwriting which shines through a diverse range of new styles laid upon it. [Jan 2020, p.86]

A huge welcome throwback. [Oct 2020, p.87]

Living On Mercy finds the songsmith at his sweetest and breeziest. [Oct 2020, p.85]

You couldn’t call it ravishing (although the way the guitars trickle and scratch over sepulchral bass on Come Bring Your Love before exploding in distortion certainly is). It is, however, an unbidden delight: hypnotic, breathtaking and quite, quite beautiful.

Their attitudinal distillation of blues, glam and grunge sounds like a marriage made in rock heaven. [Jan 2022, p.84]

There's a straight-forward brilliance to this covers set. [May 2022, p.85]

Heavy yet eloquent, full tilt yet considered, it’s a record that is incandescent with rage, and clever too.

The songs are great. ... This is a collection of brilliant, swinging rockers. [Jun 2023, p.76]

Those with sensitive ears will find its more extreme moments indigestible, but it remains impressive stuff. [May 2023, p.78]

Perhaps not the new studio recording some were hoping for, but a fascinating and compelling deep dive into Young’s past. [Mar 2024, p.80]

This is fine work indeed. [Apr 2024, p.80]

Future Soul is sublime, and one of America's great bands just got a little bit greater. [May 2026, p.72]

An album of quiet, immense beauty. [Jun 2026, p.72]

So J did his usual effortless stand-in thang on guitar, and with Lou writing two beautiful soft rockers and Murph powering away on drums created another album to stand if not quite the equal of the original Dinosaur albums that around the end of the 80s helped change the face of US alternative rock, then somewhere close.

Hard truths are faced down and bad voodoo gets annihilated throughout in unflinching, life-affirming, hard-rocking glory.

As the rest of rock scurries to condense its charms into sync-friendly Shazamable nuggets, Britpop pioneers and eternal outsiders Suede slice gloriously against the grain once more with a grandiose semi-concept seventh album that demands to be consumed as a complete piece of art.

Highlife electronica meets understated Celtic folkiness on charmingly whimsical, multifaceted, Welsh language. [Oct 2019, p.91]

Halford and the latest incarnation of Judas Priest are still rattling rafters with this new album of pristine and dauntingly powerful heavy metal. [Apr 2024, p.76]