There’s plenty more to like. The imaginary soundtrack piece Fact 67 is full of neat Sturm und twang; Dropping Bombs On The Sun is a pretty, hazy piece with a spooked Parks vocal that lives up to the title. If you like Ornette Coleman and all that jazz, then Don’t Get Lost is your friend.

Same edgy, post-punk, anything-could-happen-next discomfort about them [as 90s band Compulsion]. Which is nice. [May 2025, p.79]

Matches vintage MaximumRock'N'Roll short, sharp, DIY hardcore blurts with kindergarten puppetry to baffling effect. [Aug 2023, p.79]

Ninth album Quiet And Peace is roughly one third quiet, peaceful and Chris Stapleton-like. ... elsewhere, All Be Gone and Lonely Fast And Deep recall the lumberjack Lemonheads of '93, but there's forward motion too. [May 2018, p.90]

The band venture away from their own back yard for the first time, recording this new album in El Paso. It results in a pleasingly broader palette, from the redneck power pop of Sandlot, to the melodic and bouncy Madness-like closer We’ll Meet Again.

One Deep River is one of Knopfler's best. These are gorgeous songs, sung in a voice that sounds like it's lived a life that's full. [May 2024, p.74]

It grows with listens, and at its best (as on Hold On), Clark’s guitar/soul-beat fusion is smooth and stylish. But some of it is just (whisper it) a bit boring.

Bob Dylan regulars Larry Campbell and Tony Garnier pop up but this isn’t a star-studded exercise, more of a stylish platter aimed at grown-ups.

LTB’s woes have been rewarded with something remarkable: their best record yet.

With Bloom, Larkin Poe prove they’ve got the whole authenticity thing locked down. [Mar 2025, p.76]

If the joyous Ready For The Magic isn’t already an indie club floor filler, it damn well should be.

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]

This is music to immerse yourself in, lose yourself within its many complexities and layers of sound, sudden explosions of light and directed commentary; always fascinating, challenging and densely packed. Sepulchral, sombre, challenging, claustrophobic. [Dec 2019, p.85]

This feels like the album of a group recharged; lent a new perspective by the pandemic, perhaps. [Nov 2021, p.73]

Visconti busies it up, eking out build-ups and layering the ambient sound of a crowd arguing on We’re So Nice, while closer I Don’t Care gets jazzy. Overall, though, this is a well-behaved, orderly Damned: stoic, steady-handed and spirited.

Relish the result of an intelligent, engaging act taking a new stand. [Sep 2014, p.90]

The gravel-voiced 62-year-old coasts along on foot-stomping jukebox cliché at times, but his howling murder ballad Fixin’ To Die burns with an agreeably ragged fury, while plaintive finger-picking story songs such as News From Colorado are welcome reminders that he can sometimes out-Springsteen The Boss himself in the heart-stirring Americana stakes.

A dream experience, Born Horses canters at a fine pace. [Sep 2024, p.75]

It's not quite up there with Majestic hey-day offerings, but there's loads to reinvigorate the enthusiasm if fans disenchanted by recent ill feelings. [Summer 2013, p.93]

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

This fourth album sounds like a broken man writing himself better, Tolchin weaving beautifully sparse folk-blues fingerwork around autumnal organs. [Nov 2019, p.81]

A largely acoustic album, its haunting quality is brought out by a variety of alternative tunings and ambient drones, as well as lyrical meditations on mortality and emotional healing that are delivered with a psychedelic clarity. [Aug 2020, p.88]

The Lips are clearly huge fans of the retro-kitsch pop culture that they pillage and parody on this love letter to junkshop Americana. [Nov 2022, p.74]

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]

The widescreen sound suits this career solo artist, and standouts like Boombox and Ten Watt whip up a rollicking hoedown ambience. [Jun 2024, p.75]

The nagging sense remains that way too much effort has been put into reinterpreting other artists’ material instead of writing their own. [Nov 2024, p.76]

IV takes a more measured pace around bleaker themes.

Big? Nope. Clever? Definitely. [Mar 2013, p.98]