Despite the numerous positions, No Lube So Rude becomes a little no-note. [Mar 2026, p.80]

Confirm Mumford & Sons are back in business. [Apr 2026, p.85]

What makes this combined reckoning of Brian's last, fully-engaged studio albums for The Beach Boys, with all of their peaks and flaws, such an enlightening, unexpected pleasure is the chance to hear the earnest dedication and breadth of inspiration in this brief window of renewal, long obscured by false promo and Brian's ongoing trials. [Apr 2026, p.96]

The trio's key facet is their instrumental nous, all hypnotic tension and release with abrupt chord/gear shifts. [Mar 2026, p.88]

Anyone who fell for Fontaines D.C.'s 2019 debut Dogrel should find plenty to love in this first offering from Cork's Cardinals. [Mar 2026, p.81]

Strange Life warrants recognition, Stein and co's passion undimmed. [Mar 2026, p.80]

An extraordinary comeback. [Mar 2025, p.84]

Few can match The Cribs for their facility with bruised melodies and crunchy dynamics, perfecting here a transatlantic noise that draws equally on Smithsian jangle (the jaunty Never The Same) and Sonic Youth squall (Dark Luck). [Mar 2026, p.86]

Buchanan's Voice is the star, but his songs rarely let him down. [Mar 2026, p.86]

The covers format doesn't facilitate too much untamed Scabies (sadly), but Brian himself poignantly appears on The Last Time. [Mar 2026, p.81]

A powerful and uplifting experience. [Mar 2026, p.84]

It's late-night, it's autumnal and it's really rather lovely. [Jan 2026, p.82]

Brutal and delicate, merciful and relentless, [Ahmed] luxuriate in the new spaces and sightlines the studio opens up. [Feb 2026, p.87]

Casually devastating. [Mar 2026, p.86]

A sprawling Daphni DJ set in microcosm, Butterfly is feel-good music of the purest kind. [Mar 2026, p.89]

EXPO's bleak outlook is explored inventively, live and electronic elements expertly collaged from an unpredictable sonic palette. [Mar 2026, p.81]

He makes it all the juxtapositions and fusions feel fresh and natural.[Mar 2026, p.80]

The cumulative result begs a position beyond the band's canon, in an intriguing mini universe of its own. [Mar 2026, p.80]

Craven Faults harness electronic power to recount compelling stories. [Mar 2026, p.88]

Wormslayer feels like the band's most consistently corporeal record since the Britpop era's iconic K. [Mar 2026, p.83]

Splitting the difference between the digital and the hand-cranked, Geologist has opened up his own haunting little universe. [Mar 2026, p.81]

The album burns brightly, like a widescreen musical travelogue. [Feb 2026, p.87]

Often startlingly brilliant. [Mar 2026, p.85]

It's the limpid slow tunes - Opal, Night Shade and more - that stand out. Only Storyville overstays its welcome, spinning off into a free-form scrabble, but the lovely Something More restores harmony. [Mar 2026, p.86]

It's the rarest of soundtracks: one that makes you excited to watch the documentary, not the other way round. [Feb 2026, p.80]

Yes, it can be formulaic, but when it's this deadly, bring on the soundalikes. Mar 2026, p.97]

Jana Horn is a singing magic eye picture somewhere between the scratchy emotional static of early Cat Power and itchy Talk Talk Spirit Of Eden jazz. Unfocus and see. [Feb 2026, p.84]

The album is a great showcase for the Fontaines D.C. guitarist's production skills, which makes even occasionally inert material punchy and dynamic. [Mar 2026, p.81]