Walks For Motorists cascades, scalds, oozes ectoplasmically and revisits the rusting futures of rock past. [Jun 2015, p.92]

When it's good, it's very good. [Jun 2015, p.91]

The band's sixth album is another uneven mix, but with enough fresh twists and smart cameos to save it from redundancy. [Jun 2015, p.90]

One for those who like some songwriting substance with their hellbound gargling. [Jun 2015, p.95]

Opener Finally Free is the instant crowd pleaser, but slow-burners Diamond Girl and Pink Snow find them in ambitious new album rock territory. [Jun 2015, p.89]

A group at ease with both their instruments and each other, showing no signs of rust or sclerosis despite their long lay-off. [Jun 2015, p.88]

The presence of old Jam oppo Steve Brookes on slide guitar during a pop-art inspired In The Car, meanwhile, only adds to the sense of Weller returning to what he knows best. [Jun 2015, p.94]

It's an astonishing, tour-de-force performance, ferocious and committed and dripping with confidence. [Jun 2015, p.90]

A curious curt selection with no obvious crowd-pleasers, but doubtless KC fans will rise to the challenge. [May 2015, p.107]

Amid all this doom, Therapy? sound reborn, utterly at ease with a sound they largely abandoned 20 years back. [May 2015, p.106]

At just 39 minutes, they've packed so much into this entirely mad record, you'll be left happily exhausted by the end of it. [May 2015, p.103]

The result is a direct, delicious assortment. [May 2015, p.104]

You'll find much to love on Global. [May 2015, p.102]

Watford's finest are still very much the real deal. [May 2015, p.103]

This fine album could have been recorded at any time in the past 60 years, yet also could only have been recorded by this particular man at this particular stage of his career. [May 2015, p.107]

As a set of songs it works fine. [May 2015, p.105]

Only the plodding White Lightning and an unadventurous 20th century Boy drag, but they're easily outweighed by the new-wave buzz of Youth Quake and Parachute's godlike glam Beatles chorus. [May 2015, p.102]

Little has changed in the schlocky-horror junk-shop aesthetic.... However, the polished and emotive power-pop chuggers She's The Bad One and Sorry About Tomorrow show more midlife maturity. [May 2015, p.103]

A rather predictable record. [May 2015, p.107]

Their story is one of the great oversights of rock'n'roll and it's a joy to see it curated with such care. [Apr 2015, p.106]

Knopfler's slide into the cosy vale of rootsy retro is clearly irreversible, but he certainly makes trad a luxurious place to get pampered for an hour. [Apr 2015, p.97]

It's on those spiritual slowies that this crew rakes the biggest steps to creating the 21st-century southern masterpiece they are obviously capable of. [Mar 2015, p.94]

Lovers of rock both classic and current will be blown away. [Apr 2015, p.94]

Great riffs, great rides, great album. [Apr 2015, p.101]

They find the sweet spot between Dinosaur Jr's nagging noise and The Posies' woozy power-pop charm. [Apr 2015, p.101]

While the album lacks the killer punch of a big hit single, it's full of charm and depth, making it a rare treat indeed. [Apr 2015, p.100]

It's an insider's wink, an unchallenging throwback to a more challenging time. [Apr 2015, p.100]

Garwood sounds like he's found whatever he's been blindly searching for. [Apr 2015, p.99]