Actually, You Can is business as usual, which translates into a 'gloriously unusual racket'. [Jan 2022, p.83]

In its second half, Crawler takes brave experimental swerves. [Jan 2022, p.82]

This is a very good album. There might be darkness outside, but the barn is lit up by the old men playing country and rock inside. [Jan 2022, p.82]

It's an extraordinary record, which stands, and reliably rewards, repeated listens. [Jan 2022, p.80]

Musically Caravan excel on the thick space-jam soup of Wishing You Were Here. [Nov 2021, p.76]

A rich feast for connoisseurs, a rewarding research project for curious casual fans. [Dec 2021, p.78]

Playing those and more top-drawer songs including The River and Born To Run (previously mothballed footage of 10 songs from the two shows are included) and a superb E Street Band behind him, Springsteen gives it his usual all, at arguably the peak period of his career and live performances.

The album fades a little towards the end, but it's exactly the daft-as-a-brush cheer-up we all need right now. [Dec 2021, p.72]

Sad And Beautiful Worlds finds him showing off those songwriting skills, delivering country-tinged ballads, bubblegum pop and twinkling Americana in typically effortless fashion. It's when he lets his guard down, however, that Malin is at his most impressive. [Oct 2021, p.72]

The album itself is as fine a collection of infectious, genre-hopping melodic vignettes about random stuff as they've produced in recent years. [Nov 2021, p.70]

It's another record to follow deep into the bayou, chasing the will-o-the-wisp harmonies. [Dec 2021, p.70]

Can reliably wrangle an engaging, chart-friendly rock-lite tune, yet don't sound anything like their irresistibly evocative name would suggest. [Dec 2021, p.75]

No Taste is positively obese with ideas, street smart with a side order of Sonic Youth, a grrrlish death disco diva Banshee fest. [Dec 2021, p.75]

An engaging blend of slowcore, drone, post-rock and dub. [Nov 2021, p.77]

More neo-prog than post-hardcore, Horizons/East is a grand statement of intent. [Dec 2021, p.75]

Although Donald Fagen's vocals have mellowed, there's no decline in quality. [Dec 2021, p.73]

Punchy, confident debut. [Nov 2021, p.76]

On the raw, muscular opening Notches it’s the ‘notches on my walking cane’ as Bonamassa’s guitar sends out a series of flares from the powerful blues boogie that propels the song. ... It’s a headlong rush to the final slow, melodic Known Unknowns, where his angst drains into an acceptance that he will never beat the ticking of the clock. It was a journey he had to make and now he’ll have to follow it.

While it does start to get a little repetitive, it's good to hear a band straying off the beaten track too play timeless music just for the sheer hell of it. [Dec 2021, p.72]

His joy at being reacquainted with his music is obvious right from lively opener One More Time. [Dec 2021, p.74]

The instrumental How To Disappear Into Strings adds a stentorian dimension to How To Disappear Completely, while Fog ascends to a whole new level of mystery in its Again Again version. Radiohead’s loving tending of their back catalogue wins out again.

A stunning stripped-to-the-bone reinvention. [Nov 2021, p.83]

An absolute must. [Nov 2021, p.83]

Alice In Chains fans should prepare to love this, but expect more echoes of Jar Of Flies than of Dirt.

This is a work of beauty and beastliness in equal measure. [Nov 2021, p.71]

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

Existence Is Futile is vintage latterday Filth. [Nov 2021, p.72]

It's an incredibly busy, dense record, with few moments to come up for air from the maelstrom. [Nov 2021, p.73]