Every song is a standout.

At three hours-plus, it’s a lot of breadline bluster, but it’s life-affirming nonetheless.

These songs are well worth revisiting for turn-of-the-century emo kids reminiscing on their misspent youth. [Apr 2019, p.95]

This fourth album from them is special. [Apr 2026, p.79]

This is no hasty cash-in. The music is exemplary: rock'n'roll, southern gothic, serious stuff and downright fun tunes. ... There are 63 examples of Petty's art in total and they illustrate that his range was far wider than some think. [Oct 2018, p.92]

Every second feels vital, vicious and vastly more exciting than a band approaching their fortieth anniversary has any right to be. [Oct 2020, p.84]

A handful sprawl and meander a little because, hey, who would dare edit two revered avant-rock overlords? But otherwise quality levels are reliably high. ... This is the best Radiohead album in over a decade.

It's a great way of refreshing an often overly familiar catalogue. [Jan 2015, p.124]

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

Confirm[s] that not only is this one of Gorillaz's best albums, but also that there's plenty of life in this cartoon outfit yet. [Apr 2026, p.76]

The result is an autumnal masterpiece to rank alongside anything by Bob Dylan or Johnny Cash. [Nov 2014, p.92]

Plant's journey continues ever on, and it's one worth falling in step with. [Oct 2025, p.72]

A brilliantly put-together collection from one of popular music’s most important cities.

A bleak album for the times, but a refreshing one. [Aug 2024, p.70]

The star of this set is Michael Karoli, whose freak-out guitar solos are the epitome of what 1977 claimed to be killing off. 1977 failed, but Can in 1977 were, in their own little big world, on fire. [Dec 2024, p.86]

As a collection, Anthology 4 charts a parallel path through the Beatles’ career, one with a tacky postscript in the 21st century. As a Beatles record, it is not very good, offering nothing exciting in terms of rarities (wow, the “strings only” version of Something from the Abbey Road 50th anniversary edition) or insight. [Dec 2025, p.84]

Originally rejected by Reprise Records executives as being nothing more than a bunch of demos, the entire set is spun with some strange, surreal and beautiful magic.

Singer Britt Daniel still knows less is more, though, and the tracks are lean and pared, every stab counting. [Mar 2022, p.83]

Lovely flamenco guitars, the slightest rhythms and subtle splashes of steel guitar and accordion are the backdrop for a voice that remains as pristine as when he made his mark in Blighty touring with The Clash.

It's a pleasure just to amble alongside him, being blissfully glazed in honey by that extraordinary voice. [May 2020, p.81]

Birchwood is still making rowdy brand of blues, seemingly unlikely to suit up or slow down any time soon. [Apr 2021, p.87]

It's a disorienting yet potently addictive mix, reflective of industrial metal's labyrinthine roots in electronica, new wave and beyond. [Oct 2023, p.86]

The outtakes – live performances drawn from CBGBs (of course!), mighty raging debut single Love -> Building On Fire, various acoustic and alternate versions of familiar numbers – are damn near indispensable. [Dec 2024, p.85]

The results are mostly magical, largely because these songs still sound like Simon at his wry and melodic best.

An exhilarating, blustery document. [May 2021, p.84]

Eric's new version brings a new lo-fi energy and the maturity of a dark ray Davies. .... This is truly a great album. [Dec 2025, p.76]

It's an essential addition to any Young fan's library. [Jan 2019, p.94]

More highly flammable melodic buzz-punk, now with added flecks of Stranglers atmospherics. [Oct 2021, p.72]