Cohesive, diverse and swollen with hidden depths. [Jul 2020, p.88]

This album will leave you so wobbly and weak-kneed, you might have to take a few days off work to recover. Headphone melter of the year so far, for sure.

33 years in, Suede aren't treading any water. [Oct 2025, p.78]

A spellbynding brew. [Nov 2020, p.87]

Good things abound. [Oct 2024, p.73]

The ramshackle mix of lyrical longing, acoustic guitars and glacial synths would ordinarily be described as Americana, but the lyrics are still as British as fish and chips. [Sep 2023, p.76]

An hour in her company is still time well spent. [Sep 2023, p.79]

It's a disorienting yet potently addictive mix, reflective of industrial metal's labyrinthine roots in electronica, new wave and beyond. [Oct 2023, p.86]

A distinguished, intriguing return. [Sep 2013, p.91]

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.

It's another record to follow deep into the bayou, chasing the will-o-the-wisp harmonies. [Dec 2021, p.70]

The quartet's explosive indignation is undeniably thrilling, as is their deft mastery of the genre's roaring dynamics. [Sep 2013, p.91]

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

[The band] sound like they’re grabbing at big choruses like an alcoholic scrabbling for a bedside breakfast whisky. But on The Feelers, the motoric Spices and Me & Magdalena, Craig Finn’s sneered diatribe about a manipulative rock junkie, they nonetheless stumble across a rich, National-like lustre of dark grooves and opiated euphoria.

Their return album is a fire-and-brimstone rock-and-soul delight. [Sep 2013, p.91]

Allen provides a genre-defining pulse. [Sep 2023, p.81]

Not just vast in musical scope, The Astonishing offers an entire Dystopian world of its own, not to mention exhibiting the potential to be an overblown Broadway rock opera, eye-frazzling sci-fi movie and nerd-delighting video game into the bargain.

It's got some absolute burners on deck. ... It's also got plenty of noisy psychedelic horseshit they did in the early 90s, but even that stuff sounds glammy and cool. [Mar 2019, p.88]

The likes of Crocodile Smile and Love Is Like Gravity seem to teeter on the brink of chaos, but these seasoned players hang these pieces together faithfully and beautifully, jutting and jagging every which way, conjuring up the vivid abstractions of Thomas's lyrical visions. [Jul 2023, p.87]

It has power, darkness and bucketloads of testosterone. [Sep 2013, p.92]

‘NEVER ENOUGH’ covers a massive expanse whilst also maintaining the core of Turnstile we fell in love with on ‘Pressure To Succeed’. And succeed they have.

Witness a contemporary twist on the classic R&B revival. Hallelujah.

The results are mostly magical, largely because these songs still sound like Simon at his wry and melodic best.

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

The wistfulness, the super-saturated sound, the layered harmonies and instrumentation, the timeless echo of pasts and retro-futures colliding. The humanity, the performed frailty at the heart of manufactured perfection. Lynne still has it. He still knows how to create the magic.

On the darkly groovy Crowded Rooms Hart is joined by singer-songwriters Eska and JGrrey to bolster Dury's spoken narrative as he grapples with successfully finding his place in the here and now. [Jul 2023, p.87]

Rock Or Bust is actually a very lean piece of work. [Jan 2015, p.114]

This anthology is front-to-back brilliant. [Sep 2023, p.79]