While there's no getting around the fact that this five-disc set has been released to promote said film - even the Boss isn't above cross-platform media marketing - it still succeeds as the last revealing word on the album's gestation. [Dec 2025, p.83]

If nine discs of REM is too much for the wallet, the collection is available as a two-CD highlights pack which includes a full disc of sessions, and a second disc focusing on a chronological selection of live broadcasts. Recommended, any which way. [Dec 2018, p.95]

Flaming Pie sounded excellent then and it sounds excellent now. [Sep 2020, p.92]

A vivid multi-generic maelstrom of alt.ingenuity. [Oct 2020, p.87]

TWOD finds fresh spark on the Springsteen-esque Wasted and the title track. [Nov 2021, p.77]

Lavish production disguises thin songwriting on a few tracks, but overall this voluptuous sonic feast feels like a fitting epitaph to departed friends. [Jun 2023, p.72]

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]

Difficult to separate the jokers from the aces. [Aug 2019, p.80]

This anthology is front-to-back brilliant. [Sep 2023, p.79]

A way more fun prospect than it seems. [Nov 2022, p.75]

While Mental Illness doesn’t stray too far from the beaten path, it does offer something new for seasoned Mann watchers.

Altogether, tons of twang for your buck. [Summer 2021, p.83]

Like all the best crate-dogging comps it also unearths a wealth of wonderful obscurities. [Apr 2026, p.87]

Sophisticated follow-up. [Aug 2020, p.83]

Another mind-melting album from a band that refuses to be pinned down. [Mar 2022, p.80]

And Nothing Hurt is like a seasoned mountaineer flying up K2 on one leg. [Sep 2018, p.87]

If you like your country with a side order of maudlin, saddle up. [Jul 2018, p.88]

It's a slow-burn of an album, sounding more layered with each listen, the strain of a pedal steel woven into the fabric of the songs. [Oct 2021, p.79]

The atmosphere is stunned, reverential. [Jul 2022, p.87]

White Jesus Black Problems is a wide-ranging sprawl of sound. On a purely musical level, it's all over the place in the best possible sense. [Jul 2022, p.82]

Their self-titled ninth studio album find them, if anything, in even finer fettle. [Summer 2024, p.74]

Divorced from the visual spectacle--puppets, illusionists, avian transformations, ticker-tape poetry--and the thrill of watching actual Kate Bush actually singing, this audio recording is akin to John Lennon being resurrected to perform the Wedding Album--i.e. only mildly amazing.

Independence Day is normal for Neil: he tests the climate and the atmospherics are depressing. Terrorise Me, a response to the Bataclan outrage, is the key piece. The rest is no faffing and easy listening.

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce.

as shiny theatrical melody rock designed to look deceptively dangerous on teenage bedroom walls goes, Impera takes Ghost several more ferula shuffles in the direction of their very own American Idiot. [Apr 2022, p.77]

Feels both reassuring and stirring. [Sep 2024, p.71]

Throughout, this album is a defiantly un-laddish joy. [Aug 2023, p.78]

Their fourth album takes yet more detours, but without ever losing sight of the path. Devotees of lead-heavy riffs will be spoilt by the title track and Rites Of Passage, and the pace never exceeds sluggish.