This is an utterly brilliant collection. [Mar 2022, p.90]

One of Voivod’s finest works, Synchro Anarchy stands as proof that a band can please the crowd and themselves at the same time.

It's strident without being brash, starry without being pompous, middle of the road without being bland. [Mar 2022, p.84]

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

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

What remains is a solid, engaging late-period Korn album that doesn’t add an awful lot to their legacy, but certainly doesn’t disgrace it.

Archive Material is teeming with wonky, everyman charm. [Mar 2022, p.80]

Kane's appeal remains in relishing the retro. [Mar 2022, p.80]

We’ve been here before, but we’re back and it’s great.

C91 is an overstuffed hit-and-miss banquet of bittersweet popstalgia, great in parts but far from definitive. [Feb 2022, p.86]

Each song title is followed by a reference to specific verses from the Bible that have spurred Anderson into lyrical action. The connection is not always easy to make, and sometimes you’re better off just going with his words, although they can take some unravelling at times. But that’s all part of the plan.

With Lamar Williams Jr at the mic, there's a funky drift to See The Moon and Rabbit Foot, while Stax legend William Bell claims a stellar credit with the sad and sweetly sung Never Want To Be Kissed. [Feb 2022, p.79]

Mayall endures, and keeps exploring, with his best originals - Got To Find A Better Way and Deep Blue Sea - bent happily out of shape by screeching violin. [Feb 2022, p.79]

Kowalewicz’s oration on the similarly punky Hanging Out With All The Wrong People adds a Broadway-esque dynamism, while stand-out single End Of Me is brimming with chemistry from alt-rock behemoth Rivers Cuomo. The track’s pastiche of twangy Blue Album-era riffs and kitschy Weezer choruses showcase all that was good about yesteryear.

Mo’s resonant vocals and articulate guitar work shine across the styles.

The result is a minor wonder of wit, weight and emotion - the Horses back to full gallop. [Feb 2022, p.82]

Some of Stomping Ground sounds much as expected, like the chunka-chunka boogie of If You Wanna Rock’n’roll and My Stomping Ground, assisted by Eric Clapton and Billy Gibbons respectively. Elsewhere there are more surprising moments. [Dec 2021, p.69]

While everything here echoes its maker's past, it all sounds new. ... The Boy Named If (And Other Children's Stories) is excellent. [Feb 2022, p.78]

There awaits a winning collaboration between band and singer, but this isn't it. [Feb 2022, p.79]

The album emerging as willfully lo-fi, bouncing along on cheery electronica while McTrusty's almost spoken-word panic attack showcases his rich Glaswegian vocals. [Feb 2022, p.79]

It's all as disorientating and scary and unwholesome and - near unbelievably - heavy as fuck as you'd expect. [Nov 2021, p.74]

settle back, we'll be here a while. [Jan 2022, p.85]

Live In Brighton 1975 showcases a band at the height of their immense power. [Jan 2022, p.91]

The live disc, a partial retrieval of a concert at the Olympia Theatre in Paris in May 1971, reminds, despite its rawness, of The Band’s unmatched on-stage brilliance and the legacy they’d already built up with the likes of Rag Mama Rag and The Night They Drove Old Dixie Down. ... Among the out-takes, Bessie Smith is a further indicator that their sense of American ‘roots’ was fully integrated.

Although there are 16 tracks here from four sessions at the BBC's Maida Vale studios between that date [June 8, 1994] and August 2001, there's something about the four tracks they recorded while riding high o Dookie's success that crackle with extra force. [Jan 2022, p.89]

Overwhelmingly, Weller's songs are durable enough to bear their new setting. [Jan 2022, p.81]

Their attitudinal distillation of blues, glam and grunge sounds like a marriage made in rock heaven. [Jan 2022, p.84]

The electronic drive and mildly gothic atmospherics of 2018's acclaimed Call The Comet survive, albeit transferred away from songs of Trumpian horror and sci-fi utopia on to tracks about friendship and empathy (Ariel) and staying strong through the pandemic (Spirit Power & Soul). All These Days intrigues. [Jan 2022, p.82]