Plentiful showstopping melodies and an authentic dedication to their influences--Todd Rundgren even plays Shane's dad--will see Go To School run and run. [Oct 2018, p.86]

It's testament to the brilliance of their interplay that not even a guesting Emmylou Harris can steal the spotlight on Here Is Where The Loving Is At. [Oct 2018, p.85]

The nearest to a rock record Thompson has ever made. ... A very good album. [Oct 2018, p.83]

This is just an especially focused, varied set of entertaining Bonamassa tunes. [Sep 2018, p.90]

The quiet/loud dynamic is an elegant partnership here. [Sep 2018, p.93]

There's little subtlety displayed in their mission, and not much in the way of memorable tunes either. [Sep 2018, p.90]

A clever way with melodies over and above what they achieved on debut Higher Power, and lyrically there's more than welcome cheeky sense of irony. [Sep 2018, p.93]

It's up there with the very best records they've released. [Sep 2018, p.86]

Well worth refreshing with its delights, Big Pink is a marvel of a debut.

Making few concessions to 21st-century noise but equally never sounding old, Egypt Station is up there with Paul McCartney’s best solo work.

The Blue Hour is shot through with Suede's trademark gritty-yet-gracious melodies looped around the throats of outsider escape anthems. [Sep 2018, p.90]

An inspirational fusing of avant-garde, jazz, skronk, clattering drums, blurting saxophones, heartfelt lyrics and stellar guest vocalists. [Sep 2018, p.93]

And Nothing Hurt is like a seasoned mountaineer flying up K2 on one leg. [Sep 2018, p.87]

The Pineapples drift towards anodyne politeness at times, but their deceptively doomy ruminations reward close listening. [Sep 2018, p.87]

Dwyer has led us into yet another musical sphere, one that's proggier, perplexing and ripe for exploration. [Sep 2018, p.89]

This album is a heart-breaking but jubilant exploration of joy, honesty, fragility and expression as our most powerful means of human resistance. [Sep 2018, p.88]

This is essentially raw, acoustic, heartfelt, a 21st-century blues, but heavily treated, clouded with atmospheres, immersed in dub, stretched across the skies, ground finely into the soil. [Sep 2018, p.86]

It may not have the immediacy of Crowded House at their peak, but there are nonetheless defiant pop sensibilities seeping through the cracks of more experimental left-field soundscapes that form the spine of the likes Of Ghosts and We Know What It Means. [Sep 2018, p.86]

By occasionally confusing drabness for darkness, they've fallen short of their own lofty standards. [Aug 2018, p.86]

With High Water I, The Magpie Salute have hit on a warm, rich vein of inspiration that might well sustain them for some time. [Aug 2018, p.88]

Lucero's honest, gritty Americana feels like a welcome dose of the real stuff. [Aug 2018, p.91]

Overall, this is their most eclectic album yet and, despite a couple of lightweight generic tracks, their most end-to-end enjoyable too.

An excellent snapshot of the post-punk, post-Iggy-tour Bowie, consolidating his past and present incarnations for the faithful in significant style. [Aug 2018, p.96]

This set contains some wastage, but more than enough demented brilliance to merit serious consideration. [Aug 2018, p.96]

Luke Winslow-King capably swirls the myriad strands of Americana. [Aug 2018, p.89]

A paradoxical mixture of bashed-together informality and studio finesse, a record that seems to evolve as it goes along. [Aug 2018, p.86]

Anyone not expecting a retread of his former glories will find enough here to enjoy. [Summer 2018, p.90]

This is a strange kind of beauty. [Summer 2018, p.88]