Stunning. [Jun 2020, p.89]

Deft arrangements, vintage heaviness, classic power. [Jun 2020, p.89]

Road-toughened beyond their identi-Emo origins to attain a formidably muscular grunge-tinged melodic fury. [Jun 2020, p.89]

It's the record's crazed detours that make for the most interesting moments. [Jun 2020, p.89]

A masterful companion piece to Lanegan's unflinching memoir. [Jun 2020, p.88]

Mostly, Underneath is confrontational and exhilarating - just as metal should be when it's doing its job properly. [Jun 2020, p.87]

All are multi-layered, offering moments of both beautiful intimacy and blazing rage. For most bands, attempting this juxtaposition would be disastrous, but here it sounds sublime, seamless.

Williams’ anger is reflected in the music, which tempers her primal electric blues and country with garagey punk and heaving rock. Yet there’s also empathy, hope and an unyielding sense of humanity at work here.

This isn't music intended to inspire soul-searching. With its fat, fuzzy riffs and living-for-the-weekend vibe, it's made entirely for boozy barbecues and blokey banter, and maybe the odd trip to a monster truck rally. [Mar 2020, p.88]

Album of the month. [May 2020, p.83]

This attention-grabbing, moshpit-rocking noise-bomb of an album is a tremendous first step. [May 2020, p.83]

Raw, explosive and edgy. [May 2020, p.83]

Thrilling stuff from four Glaswegians with genuine hunger and real passion. [May 2020, p.83]

When he's not letting loose with some typically emotive soloing on this mix of covers and originals, his voice is still every bit its equal. [May 2020, p.77]

A classy, slick, impeccably executed album of covers, but a disappointing successor to US No. 1 Before This World. [May 2020, p.83]

It's a pleasure just to amble alongside him, being blissfully glazed in honey by that extraordinary voice. [May 2020, p.81]

One of the most musically interesting things he's done in years. ... However, a bitter aftertaste lingers long after the final notes. [May 2020, p.79]

Among their best albums in a 30-plus-year recording career. [May 2020, p.76]

The New Abnormal is less new big bang, more engrossing sizzle. [May 2020, p.76]

There’s a healthy sense of experimentation, peaking with wondrous prog-metal epic Halloween Bolson.

The band’s forthcoming album has a little bit of everything for everyone. It’s been seven years since the last Pearl Jam studio album, and the world has changed irrevocably since then. But thankfully some things remain reliably the same. ... Pearl Jam have given us an unexpected album of hope. Welcome back.

Even when Fallon does resort to simply weeping into the sawdust – You Have Stolen My Heart and When You’re Ready – it’s over the sort of gorgeous and poignant love letters to his family that make homeliness feel close to Godliness. Such saccharine succour.

My Dying Bride remain steadfastly rooted in gloom. It's a nuanced gloom, though. [Apr 2020, p.87]

Citizens of Boomtown is a startling selection of classically punchy songs. [Apr 2020, p.87]

The APD grooves, jazzes and lover's rocks, but only delivers total post-punk Apocalypse on Panzer Dub and Full Metal Dub. [Apr 2020, p.89]

The album suffers from the Lips' recent tendency for ambient, Blade Runner interludes, while jazzy plods and one-note vocoder drug confessionals drag things to a muted, half-baked crawl. [Apr 2020, p.87]

The album really benefits from Buck's undimmed musical sensibility. [Apr 2020, p.88]

Jerky, visceral, complex, cerebral, a deep joy. [Apr 2020, p.89]