This is no stop-gap, contract filler of a record but rather a perfectionist giving a great album the full workout it deserved.

The Bowie that his fans love most--the unpredictable, courageous and cutting-edge enthusiast-- is properly back, and while this kind of intense listening experience might not trouble the current crop of massive-selling rock stars, he’s somehow a damn sight more vital than the lot of them.

A profound and poised third album, UFOF makes digging deeper seem like a natural calling.

My Woman is an odd, somewhat mismatched collection of good and then great songs that could have been more ghostly.

High-octane strutters You Call This A Good Time and Profane Prophecy reconnect with the classic Crowes of their earliest albums, while the bluesy back-porch strum of Pharmacy Chronicles and the laconic testifying of Eros Blues remind us that Chris has one of the best white soul voices in the business. [Apr 2026, p.105]

[An] emotionally open and exploratory shapeshift.

The intensity with which she details her local ecosystem is something to behold. .... On this evidence, the cult of Mitski isn't about to die down anytime soon. [Feb 2026, p.102]

The six songs that make up Terminal hit the sweet spot between glorious pomposity and roughshod urgency, all underpinned by the sheer delight in maximalist sonic attack.

This most genuine version of herself is more than good enough to stand on its own.

The 10CD version is a patchy collection of familiar highlights and sometimes enjoyable outtakes.

Everything here is on point; every single element is executed with a stupefying mastery. Soaring strings, luxurious French horn, jangled distortion and purgative, unhinged vocals; all these things fuse together with glorious consequences. Utterly exceptional.

Serious Miles and Coltrane aficionados will already be familiar with these recordings, no doubt, though the incentive to acquire this fresh iteration sanctioned by the Miles Davis estate is the superlative quality of Mark Wilder’s audio restoration, which makes it hands down the best version to own.

Fragments: Time Out of Mind Sessions (1996-1997) serves the showman well, making this era sing, one of The Bootleg Series’ most intriguing investigations so far into Bob Dylan’s working practices and mindset.

All this is a must-have for fans, and a relatively inexpensive way of accessing an erratic but always intriguing body of work.

With less musical improvisation - though the impenetrable lyrics are invariably off-hand - but boasting more cohesion, its sonic expansion makes for a fuller record. [Jul 2025, p.103]

The quality doesn't let up. [Dec 2024, p.109]

It’s a record that her late father would have been enormously proud of, and the first essential country album of 2014.

The result, which she deemed an "experiment in collaboration", is Lenker's most relatable to date. [Apr 2024, p.103]

Secret Love follows 2022’s Stumpwork, an album that pushed Dry Cleaning’s sound towards more expansive routes, a direction of travel that, with the help of Cate Le Bon’s expert production, has led to their best work yet. It is also their most direct. [Christmas 2025, p.130]

Yes, it can be a bit daft, but in all the self-importance is some genuinely free, affecting music. If you’re new to Entourage, jump on in. The water’s groovy.

It's the sound of an endlessly curious mind in love with the possibilities of sonics and melody and a very welcome reinvention. [Apr 2024, p.103]

And In The Darkness, Hearts Aglow is a rich, nuanced and brilliant reflection of a world in turmoil.

Purple Mountains is no return to form – Berman left us in 2009 with no discernible lapse in quality – but a surprisingly welcome return, given the shift in quality contained herein. A purple patch, if you will, but a far deeper one than you would expect. Deep purple it is, then.

This reissue’s seven bonus tracks will excite completists and include Waco, initially slated for inclusion on the album’s 2002 release before being given away online. But, in truth, the original album’s heartfelt, immediate and tape-hissing guitars and cutely executed melodies excite the most.

Her most assured album yet and one that will undoubtedly garner her some well-deserved attention.

Like Hacquard, Fussell has the gift of the gab, born to tell his tales with a dark humour that raises these fabulous fables up to splendid life.

One of the most remarkable albums of an inimitable career.

Four decades on, the enduring tales of ego clashes and drug-fuelled disarray have overshadowed the shows themselves, yet this painstakingly compiled set comes as something of a revelation.