A monumentally hideous, yet strangely glorious album. Some might say it goes up to 11... [Dec 2023, p.72]

Finley applies versatile pipes and stinging licks to extraordinary songs of broad experience. [Dec 2023, p.79]

'Zingers exhibit a whole lotta heart. But sometimes heart alone's not enough. [Dec 2023, p.79]

Hard Light works so well because rather than cling on to relevance during the wilderness years, Drop Nineteen have simply waited and let the world catch up with them. [Dec 2023, p.77]

Bare-chested canyon rock is present and correct, but so too is much introspection, melancholia, hurt and hope. [Dec 2023, p.74]

Some nifty tricks - mashing their own Lonely In Your Nightmare into Rick James's Super Freak, for example - but not enough treat. [Dec 2023, p.74]

Throughout, Morrison makes old songs sound new and brings the enthusiasm of a teenager to an old man’s record. [Dec 2023, p.78]

Now And Then, the last Beatles song has finally arrived, and it’s more than worth the wait.

Devoid of cynicism or sarcasm, The Silver Cord - Extended Mix revels in the sheer euphoria of unashamed hedonism. [Nov 2023, p.81]

The mood varies across the record. [Nov 2023, p.81]

He's still creating an introspective mood, even if the threat of hardcore eruption seems to bubble under the surface. [Nov 2023, p.78]

It is an embarrassment of riches, not least the variety of exceptional live material. [Nov 2023, p.87]

There's way more Breeders-reminiscent 90s alt. meat on the bones. [Nov 2023, p.81]

Encapsulates shoegaze, garage, grunge, self-analytical Gen Z catharsis and off-the-leash, anything-goes, fourth-album-itch experimentation, yet still retains its key pop core. [Nov 2023, p.81]

If you've followed his career the evolution makes perfect sense. .... Roll on Vol.3. [Nov 2023, p.79]

Art Dealers hums with life, its garage rock'n'soul bolstered by female backing vocals straight from the Phil Spector school. [Nov 2023, p.79]

It’s the Medicine we need, and it works best when they up the dosage. [Nov 2023, p.77]

The Ballad Of Spook And Mercy sounds like Kill Bill spliced with From Dusk Til Dawn, while piano lament More Than Death closes the story drenched in blood, regret and a little romantic redemption. [Nov 2023, p.79]

A heartfelt hymn to a national treasure, this is the acceptable face of patriotism, the evergreen sound of England's dreaming. [Oct 2023, p.85]

It’s a 21st-century record for a 21st-century audience that, with an old-school 48-minute duration, only ever leaves the listener hungry for more.

Redux is well thought out, and it works. [Nov 2023, p.76]

This is primarily a curio, but a fascinating one as it indicates directions Young could have taken if the weather had been different that day. [Oct 2023, p.91]

There's a lot to love here. But there's an awful lot of attention paid to the Life House concept, when the actual key to Who's Next enduring brilliance is Riger Daltrey attaining his ultimate incarnation as an exemplary rock vocalist. [Oct 2023, p.92]

What it lacks is a pulse-quickening ‘showcase track’ – a Fire And Water, a Mr Big, a Running With The Pack, a Burning Sky… a (to continue the 12 o’clock theme) Midnight Moonlight, even. It’s all rather countrified and subdued. [Oct 2023, p.84]

Nothing Last Forever might even be the closest approximation yet of what the 60s actually sounded like. [Oct 2023, p.83]

It's a disorienting yet potently addictive mix, reflective of industrial metal's labyrinthine roots in electronica, new wave and beyond. [Oct 2023, p.86]

Ash still put out heart and reliable joy. [Oct 2023, p.86]

A modest masterpiece. [Oct 2023, p.86]