It all makes for an entrancing half hour. [Summer 20219, p.86]

These songs are well worth revisiting for turn-of-the-century emo kids reminiscing on their misspent youth. [Apr 2019, p.95]

This thirteenth album finds them starting to sound like a band who deserve the billing [at Alexandra Palace]. [Jun 2019, p.85]

More highly flammable melodic buzz-punk, now with added flecks of Stranglers atmospherics. [Oct 2021, p.72]

III mostly avoids the genre's penchant for endless navel gazing and just delivers the ear-shattering goods. [Dec 2020, p.83]

An intense, emotional soundscape rising gently from the chiming sun bath Sun Is A Hole Sun Is Vapors. [Dec 2024, p.74]

Singer Izzy Baxter Phillips brings a rich, seductive lustre to spacey nu-grunge songs of lust, addiction, sexual assault, neuro-divergence and emotional exhaustion. [Oct 2025, p.76]

Collection of coldly beautiful electronica. [Dec 2020, p.83]

Some of the lengthier behemoths among the seven tracks here, though, particularly the sprawling Flamethrower are a little overblown and tend to lose their way at times. Despite that, PetroDragonic Apocalypse is another worthy entry into King Gizzard's avalanche of ever-changing albums. [Summer 2023, p.77]

A Violent Femmes album is always a treat; witty, lucid, self-deprecating, beat-up but ever-reliable. ... Hotel Last Resort is all of that. [Aug 2019, p.95]

AmeriKKKant feels like a measured response to the times.

From the ‘na-na-na’s of Telegraph Avenue to the fist-in-the-air anthem Make It Out Alive and the arena-sized chorus of Farewell Lola Blue, this album is a solid reminder of what Rancid are capable of.

A fitting coda for one of rock's great outsider voices. [Jan 2026, p.80]

More of the same, then, but for bleak Scandinavian beauty, Katatonia are still hard to beat.

If you want progression, look elsewhere. Here is ‘just’ another routinely radiant TFC album.

Climaxes with a haunting 20-minute prog epic complete with a musique concrete middle section. It's by far the most powerful piece of music they've ever made. The rest of the album is a mixed bag. .... But it's the scattered highlights you'll remember. [Summer 2024, p.76]

Carlene Carter duets on five of the 13 songs, notably What Kind Of Man Am I (sung by Sheryl Crow in Ghost Brothers...) and the light-hearted Sugar Hill Mountain (from Ithaca), while elsewhere Mellencamp shines alone--particularly on Sad Clowns (where his voice and lyric hurtles into Tom Waits territory) and All Night Talk Radio.

Serf's Up!'s sonic exploration heralds a more colourful new dawn for the Fat White Family. [Jun 2019, p.89]

The album is most revealing when Knopfler bares autobiographical teeth. [Jan 2019, p.87]

Overwhelmingly, Weller's songs are durable enough to bear their new setting. [Jan 2022, p.81]

The APD grooves, jazzes and lover's rocks, but only delivers total post-punk Apocalypse on Panzer Dub and Full Metal Dub. [Apr 2020, p.89]

An elegant set of sweeping rock anthems, not a rough edge to be found, and yet there' soul amid the aural perfection. [Jul 2021, p.85]

Crisp, strident, brutal. [Nov 2024, p.79]

Ringo has given us expertly produced and pensive meditations on the bigger pictures. [May 2021, p.87]

They’re not world beaters yet, but Starcrawler’s creepy appeal shouldn’t be underestimated.

As elegiac, brutally minimalist, silent and hymnal, disturbingly open and ultimately rewarding as before. [Oct 2021, p.77]

Three CDS of ace JA sides (Culture, Dillinger) and some plucky punky stabs at the genre (Clash, Ruts et al). [Aug 2024, p.83]

They lose their way when they amble in pub-rock fashion on the gormless Hard Case, but for the most part they’re as focused as they’re inspired.