An acquired taste, perhaps, but a neat 20s tweak of 90s grunge/grrrl tropes. [Summer 2023, p.79]

When not recycling hand-me-down Gallagher-by-numbers, has his moments. [Sep 2022, p.77]

12 is another gem worth unearthing. [May 2018, p.92]

It's not the most ambitious record in the world - at this stage in their career Bush don't seem to be trying to capture a new audience or to chase the zeitgeist - but I Beat Loneliness does give the impression of a band reaching out to the listeners they know are already there and offering the comfort of emotional understanding and musical familiarity. [Aug 2025, p.78]

It's a record modernised, ironically, by its more timeless moments. .... The Mysterines deepen. [Jul 2024, p.78]

Excellent, noisy stuff. [Jul 2013, p.87]

Purple simultaneously builds on what its predecessor achieved and reins in its sometimes overwhelming sprawl.

This is the first time she has really let go and experimented, and she's pulled it off with aplomb. [Jul 2014, p.97]

Civil Wars’ John Paul White and Alabama Shakes’ Ben Tanner leapt at the chance to produce his fourth album in 40 years and results are pleasing.

It all gives the impression that The Sword, lost in their own reverie, won't notice whether you listen or not. But you should. [May 2018, p.92]

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

Berlin is Kadavar 2.0; cleaner, more inventive production, broader palette (although still 70s-centred), stratospheric energy.

Creepy and disturbing, but it’ll still make their mothers proud.

You still have a man born with the gift of a sandpaper voice, which seems to shred itself afresh with every word. [Apr 2019, p.84]

The engrossing full-album reprise Forever Now gives an insight into frontman Billie Joe Armstrong’s booze and pills-induced 2012 meltdown, but otherwise Revolution Radio is more melodic air-punching about guns, gas and the American nightmare. File under: Ain’t Broke.

Even more than The Next Day, these seven tracks suggest the sounds inside his head are in sync with his long-time soul brother Scott Walker, though thankfully he remains on warmer terms with old-fashioned melody and emotion.

It may not match the mind-melting complexity or bold inventiveness of their finest hour, but War Music solidly demonstrates that Refused's passion remains undimmed. [Nov 2019, p.82]

Pick and mix your own highlights, but as a one-sitting listen expect a bumpy ride. [Nov 2018, p.82]

Goat have built a minor cult around their progressive, globe-straddling psychedelic world music, and this third album will only lengthen the Kool-Aid queue.

This time around it's less epic overload and more barebones, twitching drum machines and sparse, discordant guitars, [Apr 2026, p.76]

The clunky title track aside, swagger and confidence distinctively enhanced by the likes of Garth Hudson, Joan Wasser, Jim Keltner, JA keeps it all alive and diversely tuneful. [Oct 2013, p.89]

These are not so much conventional songs but something much looser and akin to sun-parched jams.

They’re on rollicking form here, mainman Lips playing several face-melting solos (Gun Control being typically OTT) and tackling zombies and runaway trains, alongside the more thoughtful Forgive Don’t Forget and Lemmy tribute It’s Your Move.

This album solidifies Cabbage as one of the UK's more exciting new prospects. [May 2018, p.88]

Lavish production disguises thin songwriting on a few tracks, but overall this voluptuous sonic feast feels like a fitting epitaph to departed friends. [Jun 2023, p.72]

The set culminates in a version of Echoes, which unfortunately is absolutely blighted by a wailing, dreadful saxophone solo, an awful aberration. Otherwise, this is quintessence of Floyd. [Feb 2026, p.85]

A wall of noise delivered with cinematic intent. [Nov 2018, p.83]

It gets a bit samey, as if noise alone is enough of a statement of intent. Thankfully, things pick up in the second half. [Dec 2014, p.104]