Here [on "Yesterday Is Only A Song"] and on the best tunes of Interplay, Ride feel wonderfully, unexpectedly, younger than yesterday. [Apr 2024, p.36]

A loose, luscious listen, with a timeless sound. [Apr 2024, p.32]

An impassioned and resolute statement imbued with clarity of vision, emotional depth and the hum of boundless creativity. [Apr 2024, p.33]

Beautifully now. [Mar 2024, p.29]

Organic set of gorgeously gilded songs which English folk sensibility mixes with the freewheeling spirit of Californian Canyon rock. [Mar 2024, p.35]

Every song contains a clever new idea. [Mar 2024, p.35]

His most expansive statement to date, a swaggering collage of blues, boogie, hip-hop and fuzzy rock riffs on which - unlike with, say, Joe Bonamassa - the songs are never subjugated to grandstanding guitar pyrotechinics. [Apr 2024, p.31]

Top stuff. [Mar 2024, p.25]

There is something about this music that is warming, aqueous, immersive and endlessly engaging. [Mar 2024, p.18]

Gossip have been a force of nature - in no small part down to charismatic vocalist Beth Ditto and her dancefloor-quaking voice. Real Power, the Portland trio's first album in 11 years, plays on that reputation, but tenderly. [Mar 2024, p.26]

Lee's overarching theme is loss and despair at the damage done to the natural world, but with an approach that is emphatic rather than abrasive, the anger palpable but not overbearing. [Mar 2024, p.29]

The tracks play to the strengths of Dion's guests. [Mar 2024, p.25]

While Waxahatchee has never sounded more suited for mass approval, Crutchfield has never seemed truer to herself. [Apr 2024, p.30]

Lenker collects vivid details and lets them amplify each other, until the deeply personal becomes somehow universal. [Mar 2024, p.29]

Rockmaker's rude vigour and bounty of hooks will reassure the faithful, as should the ample supply of snark from Courtney Taylor-Taylor. [Apr 2024, p.31]

A sparkling set recalling the mid-century tipping point of folk revivalism into rock. [Apr 2024, p.38]

Its themes are plainly evident in the earworm metal stomp of "Many Doors To Hell" and gothic menace of "Fingers In The Wounds", although more subdued (but equally sombre) hues inform the portentous, piano-led power ballad "Shadow Of The Gods". [Mar 2024, p.25]

This is a marvellous collection of hooky acid rock that nods to UK '80s indie as well as '70s classic rock. [Mar 2024, p.32]

A surprisingly lively and assured comeback. [Apr 2024, p.29]

He also plays an agreeably skronky, Jeff-Beck-style electric on several tracks, but it's when unplugged that Lage is at his most extraordinary. [Apr 2024, p.38]

Her piano work enviably deft, she still opts for just guitar and brass on the title track, but "paradise" offers the easy-going charms of early Diana Ross, while producer Leon Michels helps lighten the mood further on "Running", adding sax and drums. [Apr 2024, p.35]

Moody shades of The National and Tunnel Of Love-era Springsteen abound, though the whole thing never quite manages to fully convince. [Mar 2024, p.25]

Moments feel somewhat bombastic, but where Scope Neglect hits, it certainly hits. [Mar 2024, p.26]

He's one of the few guitarists around who can make a guitar solo an article of faith. [Mar 2024, p.25]

While the latter's [drummer Gavin Harrison's] rhythms can overcomplicate at times, more often they add to the edgy atmospherics and heighten the contrasting rush when broader rock strokes are applied. [Feb 2024, p.34]

Weird details stud essentially conventional songs by a band who sound energised, and in many ways The Coral's true kin. [Apr 2024, p.31]

A voyage in time and space - exploring the Amazon rainforest and transversing the African Diaspora. [Apr 2024, p.32]

William and Jim Reid remain as defiantly out of time as ever. [Mar 2024, p.29]