Chubbed Up+ feels like a bit of a stopgap between this year's Divide And Exit and a new album scheduled for early next year, but it nonetheless has much to recommend it. [Jan 2015, p.92]

The Ghosts Of Highway 20 is vast, thoughtful and profound. [Feb 2016, p.81]

Her technical brilliance remains stunning; it's now matched by her maturity and modernity. [Jan 2013, p.74]

These five expansive tracks forgo punk rock sloganeering in favour of themes of mystery, sorcery and spiritual jubilation. [Jun 2017, p.34]

Infectious, silly and even a little dangerous again. Through it all — even on the two quieter tracks, which stick outa little awkwardly among the Killing Joke fuzz — Brett Anderson is the consummate guide, vocally at his peak. [Oct 2022, p.34]

The results are exemplary. [Jun 2019, p.26]

The Liberty Of Norton Folgate--a title which makes sense in context but is otherwise unlikely to be jamming up the ringtone sites--is Madness in both their pomp and their prime.

DNA plus inspiration can be a potent combination. [Apr 2014, p.69]

Mutilator is very much in the vein of a 2013's career-topping Floating Coffin. [Jun 2015, p.83]

All told, a class act still in their prime. [Sep 2003, p.97]

If Definitely Maybe still sounds pretty much as Noel envisaged, that's certainly to do with the quality of the songs, the delivery and the timing. [Jun 2014, p.95]

Everyone from Hendrix to CSN&Y to Pink Floyd to Led Zep turns up in their dusky psych-blues-folk blended with a symphonic approach to song construction that keeps Sleepy Sun sounding fresh. [Jun 2010, p.98]

Slower than slow, softer than soft, the songs acquire an accumulative resonance. [Dec 2001, p.116]

It stands apart, a kaleidoscopic yet subtle take on eclectic ’60s sounds. With a little help from Younge, La Luz may have made their first great record. [Nov 2021, p.24]

This audio companion to Springsteen's upcoming autobiography serves as a decent best-of. [Nov 2016, p.52]

The results may comprise the most finely distilled example of Stephen O'Malley and Greg Anderson's deconstruction of heavy riffage, with each of these tracks demonstrating the infinite varieties of fuzz and rumble that exist within a single mighty note. [Nov 2019, p.33]

Striking enough on their own merits, free of embellishments, all the more powerful for the immediacy of the moment. Simplicity is the key here. [Jan 2020, p.26]

It's a delightfully messy set of junkyard bubblegum garage, with Spencer squeezing out a series of choppy grooves while howling largely meaningless slogans against a backdrop of feedback and fuzz. [Dec 2018, p.33]

Well worth the wait. [Jan 2013, p.74]

Potter's expressive voice leads the charge, but wouldn't make half as much impact without the tight and nuanced Nocturnals punctuating each quiver and wail. [Oct 2010, p.101]

Upgraded in every sense: songs with deeper meanings, mountainous crescendos and choruses to communitise large crowds. [May 2020, p.32]

If there’s something odd about an authentic Southern girl reworking a singer from Ealing who longed to emulate her American heroes, then it’s perhaps best to judge this record on its own merit. Which, as it turns out, is very high indeed.

So Beck is finally fun again, and you suspect the person most surprised by how well Modern Guilt turned out is the guy who made it.

Their debut reveals a band bristling with ideas who've taken the time to streamline their influences into a syrupy white funk. [Nov 2008, p.98]

Boy, so they know what they're doing on this whipsmart debut. [Jul 2025, p.31]

Produced by Bad Seed Jim Sclavunos, this latest project sees her moving away from the playful whimsy of her debut in favour of looser, gritter textures. [Jun 2015, p.75]

Cantrell'a sprightly tribute LP is beautifully rendered, her bell-pure voice and the chops of Chris Scruggs, Fats Kaplin and Lambchop's Mark Nevers lending old songs a new, urban sophistication. [May 2011, p.92]

A magnificently rich and confident debut.... This is how Fischerspooner should have sounded. [Dec 2002, p.142]