As well as an intact ability to craft and deliver a song, is a sonic techno-armoury far superior to that of his Tubeway Army days. [Nov 2013, p.91]

Tasty, raunchy and mind-expanding stuff. [Jul 2022, p.82]

If you've ever gone clubbing on heavy-duty painkillers, expect flashbacks. [Apr 2020, p.83]

This is Rancid at their leanest. [Feb 2015, p.96]

This collection falls between the stools of being too normal for the serious fan and too niche for the floating voter. Nevertheless, it’s a refreshing change from the bog-standard hits compendium that usually surfs into the shops when the sun comes out.

Randolph's evocative pedal steel soars reliably as his assured vocal attains new peaks of emotive character. [Sep 2019, p.87]

V combines expansive arena-rock sonics with a heavy dose of lush electronics. Indeed, the stern synths and metal-bashing percussion of Hologram sound like vintage Tubeway Army, while the robo-riffing thunder of Machine falls between Suede and the Sisters Of Mercy.

The only problem is that the album is too long. [Feb 2015, p.96]

It sounds more like a collection of polished home recordings than a truly coherent band album, but when the harmonies fly and the melodies tumble--as they do on the genuinely lovely Titanic or on the soaring Squirrel vs Snake--The Posies can still reach those old highs.

The gentle acoustic strums and electric licks, all wrapped in lush melodies and driven by Pete Fij’s worn yet honeyed voice, both mask and enhance the ennui here.

It's strident without being brash, starry without being pompous, middle of the road without being bland. [Mar 2022, p.84]

Some of the retro-crooner murder ballads risk straying into cliché, but there are inspired sound-collage experiments here too.

More neo-prog than post-hardcore, Horizons/East is a grand statement of intent. [Dec 2021, p.75]

No Home Record is a masterstroke of intimate solitude, often boiling down to poetic, semi-spoken vocals and a drum machine. ... and noise, as fans of her old band would expect, is expertly corralled. [Nov 2019, p.85]

This is all quality stuff from a name you can trust. [Sep 2025, p.80]

[An] agreeable, mildly self-indulgent album. [Nov 2013, p.93]

Jerky, visceral, complex, cerebral, a deep joy. [Apr 2020, p.89]

Buzz is in full-on demented rock-god mode (Victory Of The Pyramids), a full-throttle sludge trash that out-Hawkwinds even the mighty Hawkwind themselves. [Jun 2025, p.71]

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]

Pre-Jack'n'Meg, no one would've believed Lira Mondal and Caufield Schnug could replicate B-52's/Kleenex, now it's almost routine. [Aug 2023, p.79]

Act Surprise is a very decent return indeed for the trio. ... A record bristling with merit and a validating, electric sense of urgency that it be made. [Jul 2019, p.82]

It works, thanks in this case to an engagingly loopy clutch of lysergic psych-pop oddities created with Primus frontman Les Claypool.

The cumulative result is an album accessible enough to provide an entry point for the curious, while having just the right amount of wiggy to satisfy paid-up members of the Motorpsycho cult.

While it can’t match the last, extremely impressive Heartbreakers set, Hypnotic Eye, it’s a strong country-rock presentation from what’s not quite the sultan of side projects but rather more than Petty’s return-to-roots Tin Machine.

Baroque, doom-laden proclamations are Manson's bread and butter, and We Are Chaos is stuffed with them. [Oct 2020, p.86]

Van Weezer is a Lightweight guilty pleasure, but mostly delicious pleasure. [Summer 2021, p.80]

Full of infectious, summery pop melodies, acoustic guitars and abrasion. [Apr 2022, p.77]

Plants such enduring standards as Wild World and Father And Son firmly in the now. [Oct 2020, p.87]