A must for serious Velvet-heads. .... Something of a mixed bag. [Nov 2024, p.87]

Weird, but adorable. [Nov 2024, p.79]

A compulsive half-hour montage of dynamic Metric buzz-pop, Garage tech-rock, drivetime soundtrack sounds and pummelling grit metal. [Nov 2024, p.79]

It's the pace breakers that stand out most. [Nov 2024, p.78]

They mix things up with restrained, pondering songs like the acoustic-driven Armchair View and the album's jaunty title track. [Nov 2024, p.73]

There are no new tricks, but there’s plenty of life in these old dogs yet. [Nov 2024, p.72]

Goat's ouroboros cycle repeats, with added bite. [Oct 2024, p.76]

Powder Dry is a new career peak. [Aug 2024, p.73]

When Marshall calls himself Madman Butterfly and sings The Presence Of Haman and The End, you’ll wonder why he doesn’t do it more. He may have allowed himself to be overshadowed by his guests, but Marshall is the star here. [Oct 2024, p.77]

Good things abound. [Oct 2024, p.73]

Treasured songs suffer repeated acts of vandalism. On many nights, Dylan and the guys howl the chorus of Like A Rolling Stone frat party-style. Conversely, the 1974 release Forever Young (from the Planet Waves album) gets regular care and rises in stature as a Boomer benediction. [Oct 2024, p.83]

If that’s code for giving the people what they want, he’s delivered. From the moment Edin opens proceedings with 83 seconds of fearless fretwork, there’s guitar everywhere. Sighommi gallops like Iron Maiden taking on Black Sabbath, Goeth The Fall overflows with cascading hooks, and 999 is a reminder that Smashing Pumpkins were always masters of a slow-burner. [Oct 2024, p.74]

The album tapers off towards the end, but this still a likeable - albeit slight - confection. [Oct 2024, p.77]

Feels both reassuring and stirring. [Sep 2024, p.71]

A lively return to fun. [Sep 2024, p.69]

Rack is one of the most fascinating records you'll hear this year, and it's up there with their best. [Sep 2024, p.74]

All told, a refreshing update of 90s guitar rock for a headier age. [Sep 2024, p.72]

A dream experience, Born Horses canters at a fine pace. [Sep 2024, p.75]

Sound-wise there's a gravelly, mature, post-punk bluesiness about The The in 2024, some of the blackness of Johnny Cash. But there are silvery moments of hopelessness. [Sep 2024, p.71]

Home In Another Life may have sadness running through it, but it's also very cool indeed. [Sep 2024, p.69]

Bleakness sparkles. [Sep 2024, p.68]

Amelia is the work of a true auteur at the very height of her craft. [Sep 2024, p.74]

Relentlessly experimental ear bashers, just an infectious childlike excitement in the exhilarating combined power of mangled pop and apocalyptic noise. [Sep 2024, p.68]

Wild God does what great art is supposed to do: it takes the artist's experiences, however dark, and makes them universal. [Sep 2024, p.70]

This album's exploration of very type of human relationship is more Blood On The Tracks than Love Actually. [Sep 2024, p.71]

An exhilarating and unexpectedly uplifting record. [Sep 2024, p.71]

This album reveals something new with each spin. [Sep 2024, p.69]

An absolute blast. [Sep 2024, p.68]