The sound of the otherworldly sci-fi R&B that's released when psych country singer-songwriter and a future-pop production legend bond at molecular level. [Jan 2019, p.86]

Quality levels inevitably vary, but there are enough counterfactual detours and half-realised experiments here to excite even casual fans. [Jan 2020, p.94]

So, far from being another vault-raiding cash-grab by the label, it's a privilege and an honour. occasionally dreamlike. [Dec 2019, p.88]

There's a renewed freshness and immediacy to several of the tracks, particularly in his laconic vocal delivery. [Dec 2019, p.80]

Potent yet poignant, bright if not blinding. [Dec 2019, p.81]

The Gospel according to Water hovers in a mystical space between country, folk and jazz, his literate lyrics providing the thread which holds it all together. [Dec 2019, p.85]

This, by any yardstick, is great music. [Dec 2019, p.89]

It's short--11 tracks over in less than 39 minutes--but genuinely sweet. [Dec 2019, p.80]

Dependably solid. [Nov 2019, p.85]

A murky modern masterpiece. [Oct 2019, p.87]

A labour of well-deserved love. [Dec 2019, p.91]

Live, earlier material, Welcome To The Occupation and Me In Honey especially, benefits from an increased aural muscular density, while several songs from Monster itself pack a greater punch than the studio versions. [Dec 2019, p.90]

The Menzingers deliver an energetic strain of melodic rock and bare their souls on aging, alcohol and angst. [Dec 2019, p.85]

Nobody's pretending that this album is a masterpiece, but it's convivial. [Dec 2019, p.85]

This is music to immerse yourself in, lose yourself within its many complexities and layers of sound, sudden explosions of light and directed commentary; always fascinating, challenging and densely packed. Sepulchral, sombre, challenging, claustrophobic. [Dec 2019, p.85]

Ghosteen is an album which raises the bar in terms of lyrical expression, sonic exploration, and even how an album can be released in modern times. Experiencing Ghosteen involves entering another man's world. It’s a world that is both painfully intimate and startlingly alien.

She's at her best and most fiery in default-setting rock-chick mode. [Dec 2019, p.81]

Retro rock with rage and aspiration. Follow that, Astley.

The wistfulness, the super-saturated sound, the layered harmonies and instrumentation, the timeless echo of pasts and retro-futures colliding. The humanity, the performed frailty at the heart of manufactured perfection. Lynne still has it. He still knows how to create the magic.

This is no means a case of Brock and co serving up space rock comfort food to the faithful. But at the same time the final, nine-minute The Fantasy Of Faldum would be welcomed onto any Hawkwind album of the last 40 years. [Nov 2019, p.80]

Four 11-minute "Improvised modal drones." [Nov 2019, p.85]

Not essential, then, but well worth a peek through the window. [Nov 2019, p.84]

Cronin's produced an engaging gem. [Nov 2019, p.85]

This third album finds the Los Angeleans aided and abetted once more by the late Neal Casal to transformative effect. [Nov 2019, p.85]

No longer on the run, Mother Nature is instead "pushing Earth in a baby carriage." This recurring theme in Young's work is echoed in the equally powerful yelp of Shut It Down and the altogether more downtempo Green Is Blue. [Nov 2019, p.80]

It may not match the mind-melting complexity or bold inventiveness of their finest hour, but War Music solidly demonstrates that Refused's passion remains undimmed. [Nov 2019, p.82]

The Kids Are coming (To Take You Down) is the one highlight of the album, a thundering radio anthem redolent of Cheap Trick. Its carefree joy is notably absent pretty much everywhere else. [Nov 2019, p.81]

This fourth album sounds like a broken man writing himself better, Tolchin weaving beautifully sparse folk-blues fingerwork around autumnal organs. [Nov 2019, p.81]