This Melbourne trio blaze undeniably with desperate Saints thuggery, causal swagger and an occasionally skronking No Wave sax. [Aug 2022, p.71]

An ambitious concept work based in the 15th century's Hundred Years War. [Nov 2019, p.85]

4 lovers of gloriously degraded punk pop. [May 2021, p.88]

The album concludes with Nicky Wire’s grainy lead vocal on The Left Behind, a charmingly offbeat detour into 1980s indie-rock. More of these eccentric tonal variations would have been welcome on an album that emerges as a solid exercise in arena-sized anthemics, majestic in parts but not a career peak.

Eat The Elephant gradually gains heft while staying intriguingly unpredictable.

Cutting their teeth in New York’s surviving venues, the quintet (first signings to Daptone’s new Wick offshoot) arrive like a most welcome anachronism.

"No Hope", "Everybody Dies" and "Care Less" all sound like phrases scratched on a teenager's notebooks, but The majesty of their songwriting craft - imagine The Byrds if Evan Dando had sat in for the session - makes even the darkest of days feel like a new dawn. [Sep 2025, p.81]

For much of it they elect to look backwards, to formative times in their music story. [Jul 2022, p.82]

Wolf Parade sound alert, ready for a bruising. [Feb 2020, p.88]

The record oozes confidence and spunky attitude--a far cry from her more recent country records thanks to the partnership with past collaborators Jeff Trott and Tchad Blake.

His debut solo album edges away from Korn's clattering, downtuned noise. What is unexpected is just how far from the mothership he's travelled--and how good the result is. [Jun 2018, p.88]

A stunning stripped-to-the-bone reinvention. [Nov 2021, p.83]

Nobody will pretend this album is among the most inventive you’ll hear in 2015. But Buckcherry just wanna pump up the volume and get the groin shifting. And they do it well enough to put some zest in the tank.

They don't go for the jugular of the tune as rabidly as they once did, although Wu-tang, the French-language Je N'en Ai Pas and several galloping new-wave track certainly do the business. [Jun 2026, p.77]

Friar Tuck is a humorous and bewildered look at the modern world from a man who has never quite seemed a part of it. [Feb 2025, p.75]

Two or three weaker numbers drag quality levels down, but Pollinator contains enough vintage Blondie spirit to get the old juices flowing again.

Moore, along with My Bloody Valentine’s Deb Goodge (bass) and guitarist James Sedwards (Chrome Hoof) and the aforementioned Shelley, is displaying a fine linear growth with Rock N Roll Consciousness.

Cerebral and discomforting. [Aug 2020, p.89]

Sweet, potent vignettes of American folk storytelling. [Jun 2019, p.89]

There’s a warm, fuzzy familiarity to Goatsnake’s doomy, bluesy sound, with Stahl’s stirring, soulful vocals always elevating these southern gothic rumbles above the mundane, not least on the striking and rather beautiful seven-minute closer A Killing Blues.

Rich in reference to Greek mythology, teeming with restless spirits in various stages of rapture and sorrow. All this might suggest heaviness, but the music is unfailingly rhythmic and melodic, often sophisticated. [Apr 2026, p.79]

Uncompromisingly creative, it's an album designed with the absence of neighbours in mind. [Jun 2019, p.87]

Albatross is a step up, sailing closer to the crunch and proggy intelligence of their 1997 debut, with songs that manage to be both smart and visceral. [May 2013, p.91]

The Brighton metalcore band turn their attention both outwards and inwards: ferocious, barely contained rage directed towards global dysfunction and the looming, ever-increasing threats to mankind and the notion of personal responsibility, taking control of destiny. [Apr 2021, p.86]

Predictable as this dynamic may be, EITS are never ponderous, never less than beautiful. [Oct 2023, p.84]

Taken as a whole, it’s a pretty patchwork affair, but so are all Alice Cooper albums, even the great ones. And while this isn’t one of the great ones, it also doesn’t sound like the work of a washed-up has-been who’s out of time and ideas.

While it's not all ace material, it's still an atmospheric cocktail of pain, hope, despair and romance. [Jun 2018, p.91]

Easily the best since their debut, but there's still a way to go before they produce an LP as fine as that again. [Oct 2023, p.87]