Tumultuous, trippy and brilliantly untamed, Sonancy is a magnificent comeback.

There are sonic surprises: The Prodigal is sheer orchestral euphoria, Sad White Reggae should be called ‘Electrofunk Strutrock, Actually’ and Hugz comes on like RATM raging against the metaverse. But it’s the themes that most intrigue.

The default setting of these thunderous doom lords from Sweden's far north remains the expansive, melodic, lavishly arranged anthem, layered densely with clobbering drums and shuddering riffs. [Apr 2022, p.79]

There’s more than an hour of music on Oochya! – a double LP’s worth, in old money – and as with most albums of such length you can easily argue over the more forgettable tracks that could have been left out. But for the most part the record showcases a band still looking forward to the next challenge. [Apr 2022, p.78]

A collection created purely for dancing to, a millennial disco that leaves the troubles of the world outside its spiky bubble. [Apr 2022, p.86]

Their fifth album, their first in just shy of a decade, is perhaps their most purely enjoyable, eschewing the furrow-browed genre-jumbling of earlier work. [Apr 2022, p.80]

It's all getting a bit too formulaic. [Apr 2022, p.83]

as shiny theatrical melody rock designed to look deceptively dangerous on teenage bedroom walls goes, Impera takes Ghost several more ferula shuffles in the direction of their very own American Idiot. [Apr 2022, p.77]

[J Spaceman's] rare communications (this is just his second album in a decade) are generally breathtaking events, and Everything Was Beautiful is no different. [Mar 2022, p.82]

The majority of this all star tribute treads an inappropriately conformist path. [Apr 2022, p.83]

Meld[s] jangles, loops, fuzzes, plucks and floaty introspections. Heavy on shoe-gaze, light on Gallagher swagger. [Apr 2022, p.83]

It needs time to be savoured and reveal its full flavours, a satisfying move in a world of glib instant gratification. [Apr 2022, p.83]

It's all delivered in a broad range of tech-rock colours. [Apr 2022, p.78]

Listening to it is a wonderfully disconcerting experience, each track swirling and merging into new patterns like a murmuration of starlings. [Apr 2022, p.78]

Screen Time is a minor but consistently engaging Moore release, crackling with kinetic tension, forever perched on a knife edge between easy listening and uneasy noise. [Apr 2022, p.77]

Full of infectious, summery pop melodies, acoustic guitars and abrasion. [Apr 2022, p.77]

With elegant electronics and playful retro-futurism, as on the tile track and Electric Sheep, Flür reminds these days of Dieter Meier and Yello. [Apr 2022, p.77]

Atmospheric to the hilt, you can almost smell the campfire. [Apr 2022, p.76]

His masterful combination of feel and technique reaches frequent peaks, with rousing, Jimi Hendrix-inspired rocker Death Of Me and slow burner I Found Her showcasing his fluid, emotive playing at its best.

Following the metaverse music hall of Step Outside, however, normal bombastic synthrock service resumes. [Mar 2022, p.81]

The Tipping Point album is tip-top art-pop. [Mar 2022, p.80]

This is an utterly brilliant collection. [Mar 2022, p.90]

One of Voivod’s finest works, Synchro Anarchy stands as proof that a band can please the crowd and themselves at the same time.

It's strident without being brash, starry without being pompous, middle of the road without being bland. [Mar 2022, p.84]

Singer Britt Daniel still knows less is more, though, and the tracks are lean and pared, every stab counting. [Mar 2022, p.83]

Another mind-melting album from a band that refuses to be pinned down. [Mar 2022, p.80]

What remains is a solid, engaging late-period Korn album that doesn’t add an awful lot to their legacy, but certainly doesn’t disgrace it.

Archive Material is teeming with wonky, everyman charm. [Mar 2022, p.80]