Clever, articulate and big dumb and sparkly, the Mael brothers are still pulsating, foot to the floor, full throttle.

Mostly, Underneath is confrontational and exhilarating - just as metal should be when it's doing its job properly. [Jun 2020, p.87]

Despite its lack of Pistols and Clash this is an accurate representation of the year punk broke, which wasn't quite as great as all those of us that were there like to pretend. [Aug 2019, p.88]

Sublime harmonies rule on You Don't Have TO Cry and The Lee Shor, both featuring guest Daid Crosby. But once the Memphis horns kick in during the show's second half, Stills seems to be fighting for pace, resulting in an overwrought For What It's Worth and Bluebird Revisited. [Jul 2023, p.92]

If the band’s grander statements are buried beneath the record’s bursts of crushing speed-punk and pounding buzz-rock, though, their vivifying passion and excitement for a genre too often ploughed through like a chore makes it utterly forgivable. Depths do emerge. [Nov 2024, p.78]

One of the most upbeat albums in his catalogue. [Mar 2019, p.91]

Luke Winslow-King capably swirls the myriad strands of Americana. [Aug 2018, p.89]

The Pineapples drift towards anodyne politeness at times, but their deceptively doomy ruminations reward close listening. [Sep 2018, p.87]

It's the record's crazed detours that make for the most interesting moments. [Jun 2020, p.89]

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

A tangibly effervescent romp. [Sep 2022, p.77]

A measured, but unwaveringly honest, portrait of middle age with all its elation and tribulations. [Aug 2020, p.82]

Genre-defying angst never sounded so good. [Nov 2025, p.80]

A spectacular squall of uber-MBV sungaze dream-pop propels indigenous Swinowish/Inupiaq woman Katherine Paul's jouney. [Apr 2023, p.79]

James Hunter's scuffed, sepia-toned soul holler remains something to here on this latest release. [Feb 2026, p.81]

Brothers of the 4X4 is as lively as a flea with ants in its pants, fizzing with tongue-in-cheek humour, and his lawless punk attitude runs through it like a poisoned river. [Nov 2013, p.89]

This is a fine album which continues to plough the Gong furrow with seasoned aplomb.

A lockdown album like no other. ... From full-blown fuzz-pedal rock monster to drones and shimmering interplay, highs and stupefying lows. [Aug 2022, p.66]

d Three Men’s engaging mix of heaviness of duty and lightness of touch resonates timelessly.

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

Unatoned isn't the best Machine Head alum, but it's a top-tier one for sure. [Jun 2025, p.75]

What metal's fundamentalists will think of it is anyone's guess, but this is the sound of the genre's future. [Nov 2021, p.77]

There are some great songs here, it just that one or two will make you want to look away and not think too hard about the one that got away. [Oct 2020, p.83]

Mo’s resonant vocals and articulate guitar work shine across the styles.

Heady stuff. [Apr 2026, p.79]

In a different musical climate, the driving No Love Lost, the U2-aping Dance The Night and the beautiful Birds Of Paradise would all be hit singles, but even if The Cult’s commercial heyday is firmly in their rear-view mirror, album number ten is a reminder that they’re gracefully assuming ‘national treasure’ status.

One of the band's most reflective releases (here she works toward acceptance of the fragility of her body while also reasserting its many strengths) but also one of their most defiant. [Jul 2025, p.78]

It's Korn's most significant album in a long time. [Nov 2013, p.94]