Plentiful showstopping melodies and an authentic dedication to their influences--Todd Rundgren even plays Shane's dad--will see Go To School run and run. [Oct 2018, p.86]

The result is a direct, delicious assortment. [May 2015, p.104]

The first half of the album is a collection of unfiltered, no-frills hardcore. ... A pitch shift in the middle demonstrates just how much more there is going on here. [Sep 2021, p.77]

He barrels unrepentantly into a sixth Gogol Bordello album that once again sounds like the traditional house band in Urals bear-meat restaurant going berserk on Green Day covers. [Aug 2013, p.85]

This alt.bluegrass band remain in a field of their own, dragging old-times instrumentation into fresh relevance.

When You Found Me combines top-notch musicianship and expert songcraft with bags of brooding atmosphere, with Lucero clearly at the top of their southern-rocking game.

It's all as disorientating and scary and unwholesome and - near unbelievably - heavy as fuck as you'd expect. [Nov 2021, p.74]

The album reveals it's the breadth of his influences - Latin as well as Led Zeppelin - that accounts for his own style. But you will need to be a drum fan. [Jun 2023, p.74]

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

In other hands, this would make for a frustrating listen, but there's a melodic warmth to mainman Stu Mackenzie's cosmic musings. [Jan 2015, p.120]

It's hard to resist. [Apr 2015, p.99]

Pe'ahi sounds like their strongest gallery of timeless anthems so far. [Aug 2014, p. 204]

It may all be a little too polished and tasteful for some palates, but for others this is 15 togs of pure aural comfort to wrap yourself in.

Cronin's produced an engaging gem. [Nov 2019, p.85]

The Afterman: Descension is both a thoughtful and thought-provoking album, and one that works on several levels. [Feb 2013, p.94]

By returning to their sonic roots, The Black Keys sound revitalised, urgent and gloriously unrefined once again. [Jun 2026, p.72]

Destroyer may shake and shudder but it never falls apart. [Jul 2019, p.81]

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.

It's an insider's wink, an unchallenging throwback to a more challenging time. [Apr 2015, p.100]

A torrid tumble of greatness. [Summer 2020, p.89]

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

Concise, clever and at war with everything from alienation to greed and loss, it's a rallying cry in a world that's lost its voice. [Mar 2013, p.97]

A 70s classic rock party, then, but one with a few new guests.

Needless to say, this is irresistible stuff that demands to be listened to while twerking in a 70s style (Steve Priest pout on your face; mock-surprise eyes à la the disgraced Gary Glitter).

Raw, explosive and edgy. [May 2020, p.83]

A meaty, starry affair.

This is a very good album. There might be darkness outside, but the barn is lit up by the old men playing country and rock inside. [Jan 2022, p.82]

It's all getting a bit too formulaic. [Apr 2022, p.83]