A fascinating and entirely listenable record of an imminently great talent. [Sep 2022, p.80]

Classy but strangely sterile. [Sep 2022, p.77]

Gritty, punchy and hooky. [Aug 2022, p.67]

This is an album on which Muse master the wider range of future rock and pop sonics they've been toying with for the past decade and refine and define their current sound as neatly as Black Holes & Revelations did for their 2000s period. [Sep 2022, p.74]

This Melbourne trio blaze undeniably with desperate Saints thuggery, causal swagger and an occasionally skronking No Wave sax. [Aug 2022, p.71]

First pleasure-shock come with previously unknown 1974 demos of the Shangri-La's Out In The Street, The Disco Song (Heart of Glass) and Labelle-like Sexy Ida. ... First impression on hearing this much remastered Blondie is how perfectly Harry unleashed beautifully nuanced sexualised dynamite over the band's tightly crafted power-pop bombs and genre diversion on what remains one of the last century's finest bodies of work. [Sep 2022, p.80]

There's a lot to enjoy here, the constant changes in mood keeping you guessing, but because it's so dense and so very long it becomes a bit of an endurance test. [Sep 2022, p.77]

It would be exhausting to list all the crimes these two commit in the name of rock'n'roll on this record. ... Risible. [Sep 2022, p.75]

The odd latter-half song gets lost in the sonics, but mostly Kiwi's stew hasn't lost its taste. [Sep 2022, p.73]

It's a roguish enough distillation of Aussie rock's most okish corners. [Sep 2022, p.73]

A lockdown album like no other. ... From full-blown fuzz-pedal rock monster to drones and shimmering interplay, highs and stupefying lows. [Aug 2022, p.66]

An evocative semi-concept work based in the 1890s. [Jun 2022, p.83]

The result is a compact and highly combustible album that packs 10 songs into just 22 minutes. [Aug 2022, p.86]

Kasabian's USP has always been a cocky straddling of indie rock and rave. It's a shame they pretty much discard it here. [Aug 2022, p.68]

Eschewing Young’s work recorded with Promise Of The Real – or indeed anything written this side of 1995 – Noise & Flowers’ nine crowd pleasers offer exactly what that brilliant title suggests.

The good-natured, twangsome results prefigure Costello's more angsty work with Clover on Nick Lowe-produced My Aim Is True. [Aug 2022, p.71]

A mostly exhilarating, agreeably disagreeable racket. [Aug 2022, p.71]

A fun album, but one in need of trimming and extra heft. [Aug 2022, p.69]

Ironically, without really trying, ZZ sound more soulful and vital here than they have for years. [Summer 2022, p.74]

Guitarist Dan Hyndman's Marmite vocal could be a stylisation too far, but there's plenty else t love on this assured third album. [Summer 2022, p.79]

Their interactions will turn understatement into seductiveness, as Paul Banks's voice and Daniel Kessler's guitars weave sorrow and hope through the shuffling Toni, the keening Fables, and Passenger, which feels like a sequel to their classic NYC. [Summer 2022, p.74]

The whole show is masterfully orchestrated. The first 25 minutes is all bangers. [Summer 2022, p.78]

Atmospheric, evocative, the psychedelic soul concept work you never knew you needed. [Summer 2022, p.79]

Sweet-voiced grrrl-angst vocals meet grunge dynamics; non-committal Veruca Salt do post-Nirvana loud bit/miserable bit. I Mean, it's fine, but... meh. [Summer 2022, p.79]

Anti-glory's an easy in, but you'll need to retune your ears to Horsegirl's particular frequency before this debut reveals its full brilliance. [Summer 2022, p.79]

He now sounds much calmer, serene even, on Shearwater's tenth, which floats where 2016's Jet Plane And Oxbow raged. This never means it's predictable. [Summer 2022, p.78]

Otherness is a grand return from a gang of proud outsiders.

The album was written on the hop, Newcombe spilling his brains right onto tape, and it shows – imperfections are made into a positive, the songs allowed to just naturally come into being.