There’s something galvanising about the way they’ve signed off with their best album in decades. This is not to slight previous albums like Perpetuum Mobile or Alles In Allem, but the group are on particularly excellent form. [Jun 2024, p.26]

Opener “I Suck At Grieving” is a musical marvel, a song about losing a parent that’s genuinely fun to sing along to. “Jealous” is a garage-rock Gen Z remake of Avril Lavigne’s “Complicated”, while “Pretty Good For A Bad Day” – a duet with All Time Low frontman Alex Gaskarth – offers a clever sense of perspective. [Jun 2024, p.33]

Throughout, Rademaker's tremulous vocals and endearing slacker persona imbue his songs with a heart-tugging humanity. [May 2024, p.34]

“Stock Horror” offering aghostly absence, its additional sepulchral weight midway through welcoming what could be ameteor shower, while the amorphous “Dim Hopes” ultimately brings brighter skies too. Similarly, “We Were Vaporised” effects alanguid transubstantiation. [Jun 2024, p.39]

Another radical musical/ psychological metamorphosis. [Jun 2024, p.39]

Muttered vocals and jazzy trumpet combine on the unsettling “God Save The Queen”, and even Mary Lattimore’s harp and Lonney Holley’s graceful voice can’t disguise “Guilty”’s uncomfortable challenges. [Jun 2024, p.37]

Rhett Miller’s quartet crank up the cowpunk on the likes of “This World”, “Falling Down” and “Chased The Setting Sun”, but time, inevitably, has tempered their collective experience. [Jun 2024, p.37]

There’s acreaky Sunset Boulevard synth-pop air of nostalgia to much of Nonetheless, but just when you’re ready to dismiss it, they pull out “Love Is The Law”, adream collaboration between WH Auden and John Barry, which shoots straight into the Top 10 of their indisputably greatest songs. [Jun 2024, p.37]

Jain often subverts the placid mood with playful details, like the fractalised vocals that fill "Our Touching Tongues" or the synth arpeggios that add a sprightly energy throughout. [Apr 2024, p.35]

The music here swells, surges and rages without ever losing the vulnerability at its core. [May 2024, p.31]

Forgiveness Is Yours sometimes becomes too diffuse, hampered by a surplus of bold ideas that do not get all the necessary follow-through. But it Abounds with queasy pleasures all the same. [May 2024, p.32]

Light Verse rejoices in its playful details. [May 2024, p.35]

Fu##in Up captures Young and the Horse on blazing form. Nelson makes acapable duelling partner for Young, working intuitively alongside Old Black’s grizzled solos, while Lofgren’s honky-tonk piano lends ashimmying quality to these craggy, elemental songs. [May 2024, p.41]

A sublime composition. [Feb 2024, p.37]

At just 25 minutes, it’s very much a listen-through, though the percussive clattering and ominous synthesiser hum of “Names Make The Name” constitute a standout. [Apr 2024, p.41]

His voice might not be as powerful as it was – “This Ain’t Rock And Roll” sees him push it to the throaty limit –but it still has range, control and versatility, while his phrasing is consistently imaginative. [May 2024, p.30]

On the first LP, the 60-piece Brussels Philharmonic adds top-heavy accompaniment to his melodic playing. .... On the second LP, however, the 11-member Umbria Jazz Orchestra sounds simultaneously nimbler and heavier. [May 2024, p.32]

Supremely inviting, warm and ruefully radiant. .... A crown on a career still going strong. [May 2024, p.31]

The result sits somewhere between Mazzy Star and Broadcast, exploring a liminal space between the more propulsive moments of the album. [Apr 2024, p.41]

A record that is quietly powerful in its delicate yet emotional execution. [May 2024, p.39]

The band's first full-length project with prolific writer-producer dan Carey mostly stays within familiar punk-funk parameters, but is generally an infectiously kinetic, richly detailed, timeless affair. [May 2024, p.29]

A squealing noise-rock juggernaut that balances gruff anthemicism with a certain improvisatory elan. [May 2024, p.38]

This is a fretful and ferocious record, lyrically much preoccupied with things having ended or appearing about to end, but musically much more blaze of glory than any kind of funeral pyre. [May 2024, p.40]

Thematically and musically, this is classic Hawkwind –epic space-rock with science-fiction lyrics –resulting in a double album crammed with songs like “The Tracker” or “Traveller Of Time And Space” that could have been written at any time since 1970 and therefore fit seamlessly into one of rock’s great canons. [May 2024, p.34]

The power of Cotton’s compositions for Engelchen lies in both its clarity, and its lack of affectation. She’s sensitive to the story, conveying it through simplicity. [Apr 2024, p.31]

Not everything hits the target, partly due to strangely sluggish pacing, but impassioned weepies like “Work Today (And Tomorrow)” and the sarcastic, agreeably sloppy “Everybody’s Somebody” showcase an impressive vocal and emotional range. [Apr 2014, p.31]

Resounds with the liberated feeling of an artist who not only has something to say but an audience to say it to. [May 2024, p.35]

Metz's latest combines the Jesus Lizard's Goat-era aggression with PiL's Album-era rigour. [May 2024, p.38]