The result is a fun, no-frills album, and what it lacks in surprises makes up for with visceral thrills. [Oct 2020, p.86]

While Showdown and the Lennon cover feel almost jaunty in their lightness of touch, his cover of Guns N’ Roses’ Patience is a broody, brooding acoustic ballad, lonely and haunting.

Danzig mostly avoids the obvious greatest hits, favouring instead reverb-heavy lo-fi treatments that faithfully reference the originals without shooting for all-out mimicry. [Summer 2020, p.85]

Mostly, it's an invigorating set that sounds, like a cubist marriage of King Of Limbs and Eno & Byrne's My Life In The Bush Of Ghosts. [Mar 2013, p.95]

We get charismatic wagon wheels of delta stomp’n’roll, conjuring images of high-class horror scenes in rugged Westerns.

Their sugar-coated badass swagger might be toothless and adolescent, but sometimes teenage dreams are hard to beat. [Mar 2021, p.87]

This album may be a little unfocused, but it reveals mire and more with each listen. [Feb 2014, p.94]

The Big Decider sees The Zutons back to Their happy clapping playful best. [Jun 2024, p.79]

It's this latter sense of indefatigable positivity that shines through, a sense of togetherness engendered by a celebration of classic, no-nonsense rock'n'roll. [Nov 2020, p.83]

Atmospheric, evocative, the psychedelic soul concept work you never knew you needed. [Summer 2022, p.79]

The result is the band’s most concise effort since Strung Out In Heaven.

A slickness that comes with age and experience sees them settle into their own groove. [Nov 2014, p.93]

Together, they’ve produced an album of cracking Mac-esque pop, most notably the clipped, catchy Feel About You and the tightly constructed first single In My World.

This knuckle-biting howler ["The Season's Upon Us"] aside, SASIB raises the roof with good vibes and memorable songs. [Mar 2013, p.96]

Good to hear the quiet one speaking up again. [Nov 2018, p.80]

An overall very classy and engaging collection from a singer perhaps largely unsung as a songwriter. [Jul 2022, p.81]

Dense and demanding, Soused will not be topping the album charts. But it is the kind of obliteratingly intense, glamorously weird avant-metal epic that Lou Reed and Metallica never made. [Nov 2014, p.94]

If the joyous Ready For The Magic isn’t already an indie club floor filler, it damn well should be.

At first it’s disorientating, but gradually--it’s 90 minutes long--it becomes mesmeric, relaxing and not unlike a Laurie Anderson or Brian Eno ‘sound installation’.

She's at her best and most fiery in default-setting rock-chick mode. [Dec 2019, p.81]

Even when exhorted by chanting fans, Liam's solo hits can never quite match Some Might Say's enduring emotive appeal. [Summer 2020, p.89]

A gift for completists, music historians and obsessives. Even for them, approaching it in one sitting is a challenge. Instead it’s better to savour it episodically, because each segment ends on something of a cliffhanger: you can hear her evolve from gamine coffee-shop folkie into a masterful, angel-voiced singer-songwriter as the collection develops.

This album reveals something new with each spin. [Sep 2024, p.69]

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

It's an assured slice of post-Loaf songcraft. [Apr 2026, p.81]

Raw, explosive and edgy. [May 2020, p.83]

Occasionally things are wide of the mark, such as with the ponderous Junkie, but that's mostly an anomaly in a record full of snarky, sneering metal that has the punky energy of a new band on the block. [Sep 2022, p.77]

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