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]

Behind all the autumnal rumination and elder-statesmen tastefulness, thankfully, Eno's experimental ethos endures. [Nov 2022, p.75]

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]

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

Heavy yet eloquent, full tilt yet considered, it’s a record that is incandescent with rage, and clever too.

A fine album by any standards, not least the Chili Peppers' own. [Oct 2022, p.70]

This is a good record mostly because the two men at the heart of it all sound like they’re actually enjoying being The Cult again.

Like all Bush albums this is really Rossdale’s. When they take a breather on Creatures Of The Fire, his Eddie Vedder-esque croon seizes the moment, and on the outstanding Identity he deals with paranoia (‘Please keep your kids indoors’) and loss of status (‘We used to be someone, now we’re nobody’) in swashbuckling fashion.

This album will leave you so wobbly and weak-kneed, you might have to take a few days off work to recover. Headphone melter of the year so far, for sure.

It's the sound of a band returning to the apex of their creative potency. [Oct 2022, p.71]

These eclectic make-overs [on NEU! Tribute] are pleasingly irreverent and mostly excellent. ... Also worth a fresh listen is NEU! 86. [Oct 2022, p.83]

It's McClain's show, with writing as young as yesterday. [Oct 2022, p.71]

After all this time, Pixies can still surprise and intrigue. [Oct 2022, p.72]

This is one helluva return. [Oct 2022, p.77]

It's a brimming grab-bag of brilliance and a total joy. [Oct 2022, p.77]

First High and Born Tough seek out her adolescence, while the title track and Black Widow stress her continuing defiance. This girl is not just following the satnav. She's older, but wilfully no wiser. [Oct 2022, p.73]

From the fourth set of bonus tracks, Fantastic is a swelling resolution to see in a new century. Strummer commits to a ‘ramshackle parade’, but sadly he would see little of it. Nevertheless, the music seems to resonate more than ever.

Restored and mixed by Giles Martin and Sam Okell – who worked wonders with The Beatles’ Get Back footage – it’s a pristine listening experience, with little between-song chat. It showcases Creedence Clearwater Revival’s many strengths.

Dr. John sounds in tip-top form here. [Oct 2022, p.73]

As if his glorious slipping of the blues genre's straitjacket wasn't brave enough, Son Little's latest album is also an excavation of some pretty heavy-duty personal trauma. ... Consider our minds expanded. [Oct 2022, p.71]

The end result is a sweet and thoughtful set from one of the genre's lifers. [Oct 2022, p.70]

There's a remarkable sense of interplay, open space, hard rock and ambition that suggests other bands might as well pack up their tents and think about heading home. It's hard to pick gems from a sea of diamonds. [Oct 2022, p.72]

This album feels like something of a transitional one for Starcrawler, as they find themselves torn between their residual instinct to rock and a desire to roll into new creative areas. [Sep 2022, p.76]

Suede’s ninth album is a back-to-basics ‘punk’ affair utilising their raw alt.rock thrust to deliver some equally unvarnished personal truths.

How does it burn? Darkly, but with sparks.

When not recycling hand-me-down Gallagher-by-numbers, has his moments. [Sep 2022, p.77]

While perhaps not as emotionally loaded as Ordinary Man, Patient Number 9 better captures the mischievous, defiant energy of heavy metal's original madman. [Sep 2022, p.72]

A clutch of powerful original songs. [Sep 2022, p.76]