Sublime harmonies rule on You Don't Have TO Cry and The Lee Shor, both featuring guest Daid Crosby. But once the Memphis horns kick in during the show's second half, Stills seems to be fighting for pace, resulting in an overwrought For What It's Worth and Bluebird Revisited. [Jul 2023, p.92]

The rollicking barroom swager of Undone And Unashamed, complete with sax solo, is similarly appealing, as is the sardonic strut of Centennial Perspective. [Jul 2023, p.84]

The music is mostly luminous and spellbinding, but the slender 33-minutes us disappointing, a mini-album when such huge cosmic themes deserve deeper, broader consideration. [Jul 2023, p.78]

As determinedly quirky as its title, The Girl is Crying In Her Latte is a very strong collection of vintage Sparks moods, plus a few new left-field twists. [Jul 2023, p.84]

As albums go, But Here We Are might be the Foos’ most cathartic, but it’s also one of their best, and a fitting tribute to the late, great Taylor Hawkins. [Jul 2023, p.82]

Thirty-four years and 16 albums in, Therapy? still sound as vital and hungry as they did when they dropped their debut. [Jun 2023, p.72]

Magical. [Jun 2023, p.74]

The album reveals it's the breadth of his influences - Latin as well as Led Zeppelin - that accounts for his own style. But you will need to be a drum fan. [Jun 2023, p.74]

High Flyin' is fine, a romp, a moment captured in time. ... It remains more a curiosity than a necessity, though. [Jun 2023, p.82]

Young's voice is plaintive and cracked, the guitars whip up a veritable thunderstorm, nd the mood is stormy and reflective. Another treasure. [Jun 2023, p.82]

This is simply stunning. [Jun 2023, p.79]

A smacker. [Jun 2023, p.78]

It's the veteran's session, and with that stentorian voice Sweet Georgia Brown and I'm Just A Lucky So And So are highlights that warm any room you play them in. [Jun 2023, p.77]

While this album isn't quite as impressive as the record in its original guise, it's still an interesting shift in gears by the Mars Volta. [Jun 2023, p.77]

This album feels like musicians bouncing ideas off of each other in the same room. [Jun 2023, p.75]

That The Church remain so vigorous and vibrant is a delightful surprise indeed. [Jun 2023, p.75]

All told, Darkadelic is a vital and reassuringly pugnacious return. [Jun 2023, p.74]

It's elegiac, claustrophobic and contagiously disturbed. [Apr 2023, p.79]

It's the sixties end of the nineties again, yet repurposed with significant flair. [May 2023, p.81]

What's surprising is that Anderson can kick up more menace with his flute than any number of hoarse roaring voices and thrashing guitars. ... The music lightens up when Anderson moves on to the sagas themselves, but the intricacies remain. As do the idiosyncratic allusions. [Jun 2023, p.78]

The songs are great. ... This is a collection of brilliant, swinging rockers. [Jun 2023, p.76]

Temples' fourth leaps from the speakers tapping veins of electro-psych, hypno-kosmische and soft-focused unreality. [May 2023, p.81]

The 2LP set sacrifices the live cuts, which, while so competent they're not exactly bristling with edge, possess a different air to the out-takes. [May 2023, p.87]

Four discs of heavy-lidded, slope-shouldered, shoe-gazing aural opioids. [May 2023, p.89]

Nude Party take things distinctly easy on this surprisingly more-ish collection and their overall growth benefits immensely. [May 2023, p.81]

While this ninth starts well it ultimately nags 'could do better'. And they have. [May 2023, p.81]

Though Weirdo's pop smarts err on the glossy, there remain enough hooks and swagger here to convince. [May 2023, p.80]

Delving deeper into funk groove and psych textures, this expansive ninth record pays a flying visit to such old haunts, to find its hedonistic crowd now wracked with late-capitalist economic woes and struggling to stay rock'n'roll post-rehab. [May 2023, p.78]