The funk is solid in this one.

This eighteenth album, continuing the sophisticated air of their second era with its merger of plush future-rock, graceful gospel folk and organic electro-pop. [May 2024, p.74]

BRMC have transcended a past that was extremely full of the past and arrived in the present. [Apr 2013, p.93]

Light, airy, clear, strong, astonishing. [Jul 2022, p.83]

Heal is a triumph of cathartic rock. [Summer 2014, p.90]

Anything goes, and dizzyingly does. .... Taste that? It's fresh air. [Jun 2025, p.71]

You can hear it in the creepy, lovelorn surrealism of Filter Me Through You’s hazy dream-pop. Then the eleven minute title track, with its ruefully fated protagonist, spidery keyboards, jaggedly interlocked parts and mantric end, proves decisively that this Dream isn’t over.

The thick fuzz of guitars is at the metal end of grunge, impact and volume kept almost oppressively in the red. But once you settle into Kentucky’s MO, the band’s songwriting strengths and musical reach are still here.

[Producer Glyn Johns] has given this album a shape and purpose, bringing out the full range of Clapton’s guitar tones. Recording the album on analogue equipment probably helped too.

It's a complete, rounded work; the 13 tracks dovetail into each other perfectly. [May 2024, p.74]

Bob Vylan arrive as a much-needed wake-up call, but it's one that's already electric. [May 2022, p.81]

Listening to all 17 tracks in one go feels like going 12 rounds with a heavyweight boxer, a championship belt on the line. [Oct 2014, p.88]

Art, love, personal and political ideology--all of it is delved into with gloriously unpolished gusto. [Summer 2014, p.91]

Dillinger remain a proudly unique proposition, and Dissociation is a thrilling, and apparently final, fuck you to the status quo.

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]

A hilarious throwback to the days when bands didn't take themselves too seriously. [Dec 2018, p.89]

While wonderfully idiosyncratic, Oddfellows finds them at their most accessible to date. [Apr 2013, p.95]

Weird, beautiful music to get lost in space--or at least a hammock--to.

Their pain is very much our gain. [Summer 2014, p.91]

It takes a few listens to hook in its claws, but when it does they're fixed forever. [Feb 2015, p.98]

It’s the pastoral style of Pentangle overlaid with crazed early-70s wah-wah duelling--think a pistols-at-dawn affaire d’honneur between Larry Wallis and Mick Bolton--and it’s very good indeed.

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

Lovely flamenco guitars, the slightest rhythms and subtle splashes of steel guitar and accordion are the backdrop for a voice that remains as pristine as when he made his mark in Blighty touring with The Clash.

Album of the month. [May 2020, p.83]

The woman's on fire. [Jun 2025, p.70]

With their warm, evocative, hot fuzz production, muted vocals and keening atmospherics that set them down somewhere between Slowdive, Mew and early Radiohead (see the surely deliberate echo of Creep in Eaten By Worms for evidence of the latter), they sigh their way through a set of tracks that are simply billowing with maudlin beauty.

Suede sound like Suede again. [Apr 2013, p.97]

Boris are still finding new ways to discomfort, disorient, and discombobulate. [Summer 2014, p.92]