The London post-punkers keep the pigeonholing hack on their toes throughout this third album. [Apr 2019, p.85]

While IOU and Danger are incessantly catchy, glittering amid high-end production, they fell as soulless as the vast stages they're destined for. [Oct 2018, p.84]

Archive Material is teeming with wonky, everyman charm. [Mar 2022, p.80]

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

Pinkus Abortion Technician still rocks harder than anything this side of ... Melvins themselves. [Jun 2018, p.86]

It may not be the most important return of the year, but 133 serves as a reminder that Muir is a leader in the field of party starting. [Jul 2013, p.87]

The record is rivenwith angst, strife and remonstration. Which makes it sound like a knotty proposition. But actually it’s quite the opposite.

At times the consistency dips, but Deer Tick can still roll like a classic bar band, and closing track The Real Thing sounds determined and sure. [Summer 2023, p.79]

Sweete, and then, deliciously soured. [Apr 2019, p.86]

The biggest draw is the plethora of out-takes and demos. ... A 15-song love set show The Replacements at their ramshackle, off-kilter power pop best. [Oct 2019, p.96]

What remains is a solid, engaging late-period Korn album that doesn’t add an awful lot to their legacy, but certainly doesn’t disgrace it.

Now 30 and nicely expanded Come On feel captures its time to a tee. [Jul 2023, p.93]

COVID fog has infected even our sharpest minds. Thank heaven so much of Ultra Vivid Lament sounds like a mirror ball at the end of the tunnel. [Sep 2021, p.78]

Although these notes from an underground that was basically dug 50 years ago, they crackle wit contemporary need. [Jun 2018, p.88]

John Primer channels his inner Mud convincingly, but you’ll be peering past him at the A-list band.

Another mind-melting album from a band that refuses to be pinned down. [Mar 2022, p.80]

On TFF, NIN and Cab-Volt industrialism nag at Rileyesque rave while referencing The Beatles’ Because. Clever.

The pair celebrate the (literal) tracks that made America, but also lament the railroad’s decline with tenderness on Jean Ritchie’s The L&N Don’t Stop Here Anymore.

The skeletal arrangements allow the controlled frailty of Doherty’s voice to pack a stronger emotional punch.

Dark, twisted, twisting. [Apr 2019, p.89]

While nothing on this album will replace anything from Doolittle or Surfer Rosa in your affections, bangers such as Classic Masher and Um Chagga Lagga detonate with a palpable sense of fun that leaves you in no doubt who the authors are and that it’s a better album than Trompe La Monde.

While the hazy creep if bleeding skull candles still waft through DVG's music this is essentially a white magick album, pulsating with light and sunshine and bursts of raga-punk exuberance. [Dec 2020, p.81]

The Ballad Of Spook And Mercy sounds like Kill Bill spliced with From Dusk Til Dawn, while piano lament More Than Death closes the story drenched in blood, regret and a little romantic redemption. [Nov 2023, p.79]

Delivers assurance, class and a timely, powerful study in historically ingrained racist ideology. [Sep 2020, p.89]

It might never escape the long shadow of the past, but it deserves a fair hearing. [Jun 2013, p.86]

The album fades a little towards the end, but it's exactly the daft-as-a-brush cheer-up we all need right now. [Dec 2021, p.72]

Brilliant music to dream to as the ship goes slowly down. [Dec 2020, p.81]

Recorded with Thomas’s snarl up front and the band on screeching overload, they pile through new titles such as Welcome To The New Dark Ages and revisit Sonic Reducer and Final Solution, plus the Sonics’ garage classic Strychnine.