A lockdown album like no other. ... From full-blown fuzz-pedal rock monster to drones and shimmering interplay, highs and stupefying lows. [Aug 2022, p.66]

An evocative semi-concept work based in the 1890s. [Jun 2022, p.83]

The result is a compact and highly combustible album that packs 10 songs into just 22 minutes. [Aug 2022, p.86]

Kasabian's USP has always been a cocky straddling of indie rock and rave. It's a shame they pretty much discard it here. [Aug 2022, p.68]

Eschewing Young’s work recorded with Promise Of The Real – or indeed anything written this side of 1995 – Noise & Flowers’ nine crowd pleasers offer exactly what that brilliant title suggests.

The good-natured, twangsome results prefigure Costello's more angsty work with Clover on Nick Lowe-produced My Aim Is True. [Aug 2022, p.71]

A mostly exhilarating, agreeably disagreeable racket. [Aug 2022, p.71]

A fun album, but one in need of trimming and extra heft. [Aug 2022, p.69]

Ironically, without really trying, ZZ sound more soulful and vital here than they have for years. [Summer 2022, p.74]

Guitarist Dan Hyndman's Marmite vocal could be a stylisation too far, but there's plenty else t love on this assured third album. [Summer 2022, p.79]

Their interactions will turn understatement into seductiveness, as Paul Banks's voice and Daniel Kessler's guitars weave sorrow and hope through the shuffling Toni, the keening Fables, and Passenger, which feels like a sequel to their classic NYC. [Summer 2022, p.74]

The whole show is masterfully orchestrated. The first 25 minutes is all bangers. [Summer 2022, p.78]

Atmospheric, evocative, the psychedelic soul concept work you never knew you needed. [Summer 2022, p.79]

Sweet-voiced grrrl-angst vocals meet grunge dynamics; non-committal Veruca Salt do post-Nirvana loud bit/miserable bit. I Mean, it's fine, but... meh. [Summer 2022, p.79]

Anti-glory's an easy in, but you'll need to retune your ears to Horsegirl's particular frequency before this debut reveals its full brilliance. [Summer 2022, p.79]

He now sounds much calmer, serene even, on Shearwater's tenth, which floats where 2016's Jet Plane And Oxbow raged. This never means it's predictable. [Summer 2022, p.78]

Otherness is a grand return from a gang of proud outsiders.

The album was written on the hop, Newcombe spilling his brains right onto tape, and it shows – imperfections are made into a positive, the songs allowed to just naturally come into being.

The good news for casual listeners, though, is that the music works as a standalone experience. [Jun 2022, p.82]

He delves into lesser-known parts, like Wheel, a 1973 song about tragic, rural cycles, and he sings Old Road, as a sparse holler, akin to the original. Other songs celebrate the ‘gonzo country’ aims of Jerry Jeff, but Mr Bojangles and his worn-out shoes is still best in show.

An overall very classy and engaging collection from a singer perhaps largely unsung as a songwriter. [Jul 2022, p.81]

An elegant and accomplished treasure from experts in their field. [Jul 2022, p.80]

Light, airy, clear, strong, astonishing. [Jul 2022, p.83]

Channel[s] the nagging ingenuity of classic post-punk(pop) to sparkling effect. [Jul 2022, p.83]

A handful sprawl and meander a little because, hey, who would dare edit two revered avant-rock overlords? But otherwise quality levels are reliably high. ... This is the best Radiohead album in over a decade.

This second album brings the heft and enormity to make them serious contenders. [Jul 2022, p.78]

White Jesus Black Problems is a wide-ranging sprawl of sound. On a purely musical level, it's all over the place in the best possible sense. [Jul 2022, p.82]

For much of it they elect to look backwards, to formative times in their music story. [Jul 2022, p.82]