The emotionally charged (if musically sterile), genre-blending Cassyette is as emptily irresistible as MSG. [Nov 2024, p.79]

While the more mellow moments may turn off some of the more alt fans of alt. country, most longtime fans will find this one just dandy. [Mar 2019, p.90]

This is a return they can be proud of. [Nov 2022, p.70]

The band more than reinforce their status as modern metal heroes. [Summer 2018, p.89]

Grim catnip for 40-something lapsed Nirvana fans. [Aug 2023, p.79]

There’s gold to be uncovered here.

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.

Maintains In//Parallel's intrinsic style and pan-genre forward momentum, a seamless, pop-literate/prog-friendly fusion positively peppered with an abundance of barbed hooks. [Dec 2023, p.74]

Songs such as the rolling The Devil Is In Her Eyes and the carefully layered Isabel’s Daughter are the work of a group who have absorbed much of what’s great about rock’n’roll and turned it loose in the present.

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]

The album tapers off towards the end, but this still a likeable - albeit slight - confection. [Oct 2024, p.77]

Strings stutter and fall, the tone can best be described as lush, gentle and reassuring.

Beautifully angry tunes cunningly made more accessible through the application o killer dance grooves. [Jun 2021, p.77]

Howlin Rain have fashioned an album that eschews the harder rocking moves of predecessor The Alligator Bride for a mellower although no less impactful approach. [Oct 2021, p.74]

This is glorious stuff: the punchy, thin lipped Church & State; the affecting wonderfully harmonies of A Woman Oversees; the slowly uncoiling storytelling bound up in the lingering A Long Goodbye. [Nov 2025, p.77]

This second album has the same sickening impact: 11 cold and merciless slashes of amorphous goth-pop that dish out sparse high-wire melodies, as on Harpstrings, Blume and the violent waltz of Velvet, like glimpses of sunlight to a basement gimp.

Where once they would gallop, here they lope, they slide, giving themselves all the time in the world. Hardcore fans of the weird stuff are going to hate it. ... This is clearly the right music for this stage in their musical evolution. [Nov 2022, p.70]

Young's voice is plaintive and cracked, the guitars whip up a veritable thunderstorm, nd the mood is stormy and reflective. Another treasure. [Jun 2023, p.82]

This is a super-modern, rock-tinged record and needs to be considered on those terms, but it's undoubtedly BMTH's bravest move yet. [Feb 2019, p.89]

The styles eclectic but generally harking back to the architecture of 60s pop. [Nov 2022, p.71]

A spicy, heady, mostly satisfying brew. [Summer 2018, p.87]

Proves that an evening sitting round Weller's record player would be an interesting one indeed. [Aug 2025, p.74]

Sometimes, as on Domina, the mood is almost singalong, but much of the album, including the title track is sublime. [May 2013, p.84]

Everybody Come To Church is designed to be repellant to the bovine majority, but if the world’s going to burn, it comes as a perfect soundtrack.

Hawkwind sit in 2025 alongside the kosmische likes of Berlin’s Arcane Allies, making similar forays into space. It’s all good – and this is certainly good. [Jun 2025, p.74]

Some of it’s inescapably retro, such as The Times’ I Helped Patrick McGoohan Escape and Firmanent & The Elements’ The Festival Of Frothy Muggament. However, there are plenty of better-known names, sympaticos such as The Monochrome Set and TV Personalities, as well as an early demo from Doctor And The Medics, Barbara Can’t Dance, whose number one single Spirit In The Sky was the commercial highpoint of this movement.

Uber-producer Youth adds a sleaze-funk swagger to a valedictory Nine Lives, while standouts Losing Sleep and Money Burns could almost be outtakes from the Mondays’ commercial peak Pills ’n’ Thrills And Bellyaches. Lyrically, Ryder remains in a league of his own.

Powerful and thought-provoking, if depressing, The Future Bites ultimately asks you to take a good hard look at what the hell you’re doing with your life.