It's an extraordinary record, which stands, and reliably rewards, repeated listens. [Jan 2022, p.80]

A labour of well-deserved love. [Dec 2019, p.91]

This is a very good album. There might be darkness outside, but the barn is lit up by the old men playing country and rock inside. [Jan 2022, p.82]

The highlights have lost none of their lustre. ... What's abundantly clear is that each of the band members was squirrelling away material for their respective solo projects. [Jul 2021, p.90]

Expressive, feral, soulful, sensual, explosive… On Air? On fire, more like.

All in all, this is a reissue as reissues ought to be done. A brilliant and familiar album remastered to perfection and bolstered by plenty of legitimately unheard material. Heavenly indeed.

It's hard to argue with this gloriously detailed reveal of a a band leaving the underground and taking flight, one bloody controversy at a time. [Summer 2018, p.96]

It perfects every element of the band’s sound and ensures everything is top-of-the-line. ... This is the Rolls-Royce of Alter Bridge records, and a high-water mark to which all rock hopefuls should aspire.

Demented, wigged out and stupendously mind-blowing, White Hills can't be Brooklyn's best-kept secret much longer. [Sep 2013, p.88]

Cue nuggets of advice from someone who’s had his own share of knocks, self-inflicted and otherwise, as Simpson and the band tackle brassy R&B, Memphis soul and swampy country, augmented by semi-orchestral strings and bound together by his extraordinary baritone.

An all-round triumph. [Sep 2013, p.90]

There’s a surprisingly thoughtful plague-themed concept running throughout, which, if you care to dig deep enough, equates the sins of the medieval church with today’s societal ills. All this elevates Ghost above the herd, placing them in the sacred company of Blue Öyster Cult and Marilyn Manson.

As The Love Continues sees Mogwai’s voyage into sound progress in a stately manner as tracks like Here We, Here We, Here We Go Forever and the misnomered Fuck Off Money tread an unlikely fine line between waft and heft.

Supple but robust at 50, Bowie's power glows undimmed. [Jul 2020, p.93]

It's the more textured and dynamic moments that raise this Herculean slab of cutting edge heaviness into the realms of a stone cold classic. [Jan 2015, p.114]

A divine meeting of minds, Reluctant Hero is a breathtaking trip unto the unknown. [Feb 2021, p.87]

I Hate Music is a fine addition to the canon, a little samey in places but it sweeps you along with its clattery blast and warm melodic hooks, [Sep 2013, p.93]

For diehard fans and the inevitable new army of converts, however, this blue period is one to marvel at. [Jul 2014, p.94]

The fourth album is a joyful tornado of shamelessly old-school indie pop. [Feb 2014, p.97]

An incendiary cocktail of muscular grooves, designed to delight and thrill the metallic faithful. [Aug 2013, p.88]

Tunes like Autograph and Hometown Blues rush forward with purpose and verve. [Jul 2014, p.95]

Capped by the sublime You Trip Me Up, even in 2014 Psychocandy was a visceral burn around the very edge of listenability.

All dozen tracks are winners. [Dec 2020, p.80]

Retains naive charm while delivering occasional brilliance. [Feb 2021, p.87]

Since 1983, The Melvins have been a wonderfully unstable constant on the rock fringes. Still fronted by Buzz Osborne of the explosion-in-a-mattress-factory hairdo, they continue to make good on that paradox with Hold It In. [Jan 2015, p.116]

Gabriel’s most consistent and cohesive post-80s record and the most philosophical of his life. [Jan 2024, p.78]

Another album, another triumph, then, and rarely more richly deserved. [Summer 2019, p.84]

For those who remain strangely tickled by their frivolous, heart-felt one-offmanship, every track here will prick your ears. Easter might be cancelled, but for rock fans Christmas has come early. [Oct 2019, p.86]