From the fourth set of bonus tracks, Fantastic is a swelling resolution to see in a new century. Strummer commits to a ‘ramshackle parade’, but sadly he would see little of it. Nevertheless, the music seems to resonate more than ever.

Nothing is rushed, nothing hasty, very little upbeat - as befits a band with such a rep for beautiful misery. [Summer 2025, p.76]

It’s mood music for people who have not been taking their prescriptions (all of us, I reckon), and it’s full of bruised beauty.

Across 70 minutes, the band return in their heavier style. [Jul 2022, p.80]

Resist is more an evolution than a revolution in the band's sound, which tightens up and augments everything that was great about 2014's Hydra. [Feb 2019, p.91]

Thematically it’s a steady path, although musically Dream Into It is fairly erratic and offers quite a disjointed listening experience as it jumps from style to style. [Jun 2025, p.70]

Gabbard played all the instruments himself, which is admirable but limiting. He needs a band to break up the somewhat metronomic feel. And a producer who can bring a radio-friendly flourish. [Jan 2025, p.82]

On Fear Of The Dawn his foot spends plenty of time flat on the fuzz pedal. [Jul 2022, p.80]

BMTH sound more genuine, dramatic and emotional than they ever have before. [Jun 2013, p.89]

This third album finds the Los Angeleans aided and abetted once more by the late Neal Casal to transformative effect. [Nov 2019, p.85]

If shiny, groovy, melodic, finger-snapping, guitar-led pop-rock is your tipple, you’ll want to guzzle down Washed Away in one.

Not everything here grabs the attention first time around: the Anthrax of today often favour a slow burn to a startling slap. But as a cohesive and dynamic whole, For All Kings delivers the goods with swagger and style.

A re-engerised record that sits comfortably next to is 'N' Hers and Different Class. [Summer 2025, p.73]

A bit of filler, but mainly killer.

The fine line between contemplation and navel gazing has always been a difficult balancing act to achieve, but here Nathaniel Rateliff, ably backed by the soulful Night Sweats on their fourth studio album, does so without the use of a safety net. And that this collective of musicians does so by breathing new life into established formats is to be applauded. [Summer 2024, p.76]

Rundgren tricks abound in the sonics--he’s a master of the synth and the Beach Boys chorus, but the overall mood is on point.

As ever with the Maels, the relentless high-camp levity and heavily mannered, shrill, staccato delivery can sometimes jar on MAD! [Summer 2025, p.72]

The whole thing sounds like they had a blast. [Jun 2013, p.88]

With shades of Tool and Aereogramme, but mainly its own beast, Polaris is pure confidence converted into sound.

It’s the Medicine we need, and it works best when they up the dosage. [Nov 2023, p.77]

As with any compilation, it’s never entirely clear how much clearance from publishers impacts on the criteria for inclusion, but there are rare treats to be mined here.

They’re on more familiar ground, with an emotional take on alternative indie rock inspired by the frontman’s new experiences in fatherhood.

Occupational hazards aside however, this is certainly the band’s strongest in recent memory, and what it might lack in edge or novelty is well countered by craft and assurance.

Springsteen has previously alluded to this [early] period of his career, albeit in the roundabout manner of fashioning songs (most notably on The River) inspired by the music he heard blaring out of jukeboxes in his youth. Similarly, formerly he has addressed feelings of emptiness and disillusionment on self-reflective songs such as Two Faces or 57 Channels (And Nothin’ On), although sat in front of a computer screen he has less recourse to clumsy metaphor.

Perhaps more than any other Rammstein album, it feels like a collection of songs deliberately built to soundtrack a future series of spectacular live set-pieces. [Jul 2022, p.81]

She can sound like Stevie Nicks lost at the Whitby goth weekender. Otherwise, as always, Stina's vexations are our pleasure. [Jul 2019, p.81]

This is an album that refuses to sit still and stagnate. [Jun 2013, p.87]

With elegant electronics and playful retro-futurism, as on the tile track and Electric Sheep, Flür reminds these days of Dieter Meier and Yello. [Apr 2022, p.77]