By placing the emphasis on Cash's then-overlooked songwriting flair, the album plays like a cohesive lost gem. [Summer 2024, p.79]

This, somewhat muted, first album in 20 years lacks much of the Beck-like shuffle and experimental pop lustre of that early era, but boasts a mature earthy seam thanks to Barlow lacing its noirish alt.folk, 80s-inflected crypt rock and melodic drone and dub experiments with touches of Middle Eastern instrumentation. [Summer 2024, p.72]

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

The fine line between contemplation and navel gazing has always been a difficult balancing act to achieve, but here Nathaniel Rateliff, ably backed by the soulful Night Sweats on their fourth studio album, does so without the use of a safety net. And that this collective of musicians does so by breathing new life into established formats is to be applauded. [Summer 2024, p.76]

Brilliantly bright-side. [Summer 2024, p.75]

It's music to stop you in your tracks. [Summer 2024, p.75]

Pond continue to make high-quality records on their own terms, and Stung! is undoubtedly one of their most enjoyable. [Summer 2024, p.77]

Climaxes with a haunting 20-minute prog epic complete with a musique concrete middle section. It's by far the most powerful piece of music they've ever made. The rest of the album is a mixed bag. .... But it's the scattered highlights you'll remember. [Summer 2024, p.76]

It's a record modernised, ironically, by its more timeless moments. .... The Mysterines deepen. [Jul 2024, p.78]

Every song on this fairly short but very sweet album sticks. [Jun 2024, p.76]

From Hell I Rise is more than just a retread of past glories. Part of the credit goes to Death Angel singer Mark Osegueda, whose vicious performance consciously avoids referencing Slayer's Tom Araya on the title track and the anti-war Trophies Of The Tyrant. [Jul 2024, p.78]

Ultimately still mesmerising, enhanced by photos and memorabilia-stacked book plus 36-page reproduction of Bowie’s notebooks, the box set provides a suitably chaotic time capsule of a magical period now bathed in extraordinary poignancy. [Summer 2024, p.82]

An impeccable, emotionally undulating, ultimately defiant set of songs from an old master. [Jul 2024, p.82]

Forever sounds like a Bon Jovi album. Rock songs, power ballads, it's a big-sounding record designed to be played to big rooms. Admittedly it's no New Jersey, but that's like expecting to still fit the T-Shirt you bought on that late-80s tour. [Jul 2024, p.76]

Effortless virtuosity and timeless idiosyncratic tropes elevate nine tracks recorded at Sam Phillips Studio in Memphis (except for the live Got My Mojo Workin'). [Jul 2024, p.83]

Continue to sound just as fresh as they did when the band first formed 40 years ago. [Jul 2024, p.78]

Heartache has rarely been so touchingly danced away. [Jul 2024, p.79]

His most rumbustious in years. .... He's peaking again. [Jul 2024, p.79]

Gravity Stairs is not an easy listen, but it is worth sticking with. [Jul 2024, p.76]

Eggsistentialism might just be their best. [Jul 2024, p.79]

Though neither Pierce nor Interior vocally, his twang's the thang: brooding, epic, immense. [Jul 2024, p.82]

Every carefully arranged song is packed with indelible hooks, melodic invention and heavenly multi-layered harmonies - all recorded in analogue. [Jul 2024, p.80]

Quality levels are consistently high, with sublime finger-picked folk-pop reveries like I Woke Up nestled alongside sumptuous, harp-kissed, Bacharach-sized chansons like Rise Up Singing and Glimpse OF You. [Jul 2024, p.80]

Sounding refreshed and revitalised. [Jul 2024, p.78]

It's no surprise party - and less giant leap than consolidatory glide - but Can We Please Have Fun has its fair share of high times. [Jun 2024, p.74]

The Big Decider sees The Zutons back to Their happy clapping playful best. [Jun 2024, p.79]

Luciel Brown's deadpan helps fuel the no-wave madness. [Jun 2024, p.81]

Bolder and more confident in its experimentation. [Jun 2024, p.77]