This is his biggest, brightest, most crackling and electric album since his Sugar days. [Apr 2019, p.86]

The London post-punkers keep the pigeonholing hack on their toes throughout this third album. [Apr 2019, p.85]

One of the most upbeat albums in his catalogue. [Mar 2019, p.91]

There are brief pit-stops for pensiveness on the whirling Room 137 and the baroque Barstool Warrior, but the dominant thread is superior thrash.

It's got some absolute burners on deck. ... It's also got plenty of noisy psychedelic horseshit they did in the early 90s, but even that stuff sounds glammy and cool. [Mar 2019, p.88]

As Clark wraps up with the formulaic 12-bar of Dirty Dishes Blues, you realise how much the rest of the album pushes the envelope and applaud him for it. [Mar 2019, p.88]

They lose their way when they amble in pub-rock fashion on the gormless Hard Case, but for the most part they’re as focused as they’re inspired.

While the more mellow moments may turn off some of the more alt fans of alt. country, most longtime fans will find this one just dandy. [Mar 2019, p.90]

This jubilant, ritzy resurrection offers a Poundland paradise. [Mar 2019, p.95]

Gone is any trace of the searing vitality that drove their earlier records; in its place a winsome urge to recreate all of the waftiest, wimpiest moments from pop history. [Mar 2019, p.91]

This heart-melting exercise in widescreen evocative soul-baring brazenly sets the controls for greatness. [Mar 2019, p.89]

This is a beautiful record, a reflection on an extraordinary 50-year career that's more a memory of life than a memento mori. [Mar 2019, p.89]

A treat for the kind of sensitive souls who remember how good emo was before it mutated into the eyeliner-and-skinny-jeans brigade. [Mar 2019, p.89]

There's a DIY feel and bouts of slacker tomfoolery to Varshons 2. [Mar 2019, p.88]

For all the grim despondency, this is an album steeped in the acrid stench of beauty. [Mar 2019, p.88]

If you want to know what Hendrix might have done beyond 27, listen to this. [Feb 2019, p.91]

Long-overdue, and quite delightful footnote to San Fran's illustrious rock history. [Dec 2018, p.87]

An album of depth and impact that merits luxuriant poring over. [Feb 2019, p.88]

This is a super-modern, rock-tinged record and needs to be considered on those terms, but it's undoubtedly BMTH's bravest move yet. [Feb 2019, p.89]

Papa Roach's not entirely convincing attempt to music in on the action. [Feb 2019, p.88]

90 minutes of sensitive, surreal lyrics and wailing wig-outs which make J Mascis sound like Julian Bream. ... You'll enjoy it. [Feb 2019, p.90]

It has stood time's ravages well, both as an indicator of the band's capacity for change and as a great album in its own right. [Jan 2019, 2018, p.93]

Characteristically dramatic readings of festive favourites. [Dec 2018, p.89]

This is perhaps a musician's album, in that peers will admire his skill and originality, while it could be rather challenging for the untrained. [May 2018, p.89]

Springsteen On Broadway is best when he tackles his fractured relationship with his father, whose boozy presence he credits with forging his tenacity, and by extension that of his own children, his sisters and his mother (“with Alzheimer’s these past seven years”) to whom he’s gloriously devoted. ... Equal parts communion and catharsis--an immaculate deception. [Jan 2019, p.86]

They approach this fourth album with typical irreverence. [Jan 2019, p.89]

Blood On The Tracks is rightly considered to be one of Dylan's masterpieces, and this exhaustive collection shows why. [Jan 2019, p.95]

It's an essential addition to any Young fan's library. [Jan 2019, p.94]