A smacker. [Jun 2023, p.78]

Wicked Nature is a fateful folly that might just bear fruit. [Oct 2014, p.89]

It's a perfect kind of insanity, and it gets the old adrenalin pumping nicely. [Summer 2014, p.91]

Father's Day [was] inspired by his recently departed dad and explaining this subtly insidious album's overall reflective mood. [Mar 2015, p.90]

Hiring QOTSA producer Eric Valentine has given their bluesy bluster a hint of Josh Homme’s desert Bowie sleaze on tracks like Never Swim Alone, Statues, Caught Up and Moonlight. ... There’s still space for the weird bits, though.

This album's exploration of very type of human relationship is more Blood On The Tracks than Love Actually. [Sep 2024, p.71]

Most touching is the full-circle thrill of hearing P.P. belt out her 1968 standard, Angel Of The Morning. [Dec 2024, p.77]

If you won and love other recent Bonamassa records you know what to expect and won't be disappointed. But for more casual listeners, the big-band approach may grow a bit overwrought and leave you hankering for those no-frills Rory Gallagher albums. [Oct 2014, p.90]

Goat's ouroboros cycle repeats, with added bite. [Oct 2024, p.76]

As the soundtrack to the black mass ritual of their ardent followers, From the Very Depths more than delivers. [Mar 2015, p.89]

The energy levels are astounding too, with producer Julian Raymond extracting a sonic attack that makes Rick Nielsen, Robin Zander, Tom Petersson and Daxx Nielsen sound like they’ve been locked in an industrial hangar with a bunch of AK-47s.

Smart enough to avoid slavish imitation, Temples already sound strong enough to breathe new life into old forms. [Mar 2014, p.101]

It’s a bewildering collection, but one that becomes increasingly compelling with each listen. Just don’t settle into it expecting an easy ride.

A fine punk album, but no more than that. [Summer 2014, p.92]

MBV is no great leap forward, though it's still aeons ahead of its 21st century competition. [Apr 2013, p.98]

They may have a more muscular setting, but there’s no denying the appeal of Argent’s ornate piano and Blunstone’s breathy warble.

A Steady Drip, Drip, Drip is still a heartening example of a truly original and who continue to enjoy success on their own unique terms by refining and amplifying their youthful weirdness instead of mellowing with age. [Jul 2020, p.88]

This album finds them surrounded by squelching basslines, scattershott guitars and pop-eyed vocals, and it's brilliant.

All six albums for Island Records generously expanded. [Oct 2020, p.93]

It's short--11 tracks over in less than 39 minutes--but genuinely sweet. [Dec 2019, p.80]

While something more adventurous might have been the way forward, the singer and his inspirations remain unscathed. [Feb 2021, p.84]

The results is at once joyous, poignant and heartbreaking. [Feb 2021, p.86]

They Want My Soul has a spiky, timeless quality, and frontman Britt Daniel's sharply wry lyrics add a nicely acidic edge to the sweetness of their melodies. [Oct 2014, p.91]

The sound is basic, raw, bitingly sarcastic. [Summer 2021, p.82]

Chunky, repetitive stun-gun guitars, sore-throat howls, throbbing digital backbeats, check, check, check.

This album is as good as we could expect from the Mary Chain in 2017.

The formula is nowhere near broke, so why fix it? Stirring stuff. [Oct 2014, p.91]

With the heft of rock and fat bottom of funk, Heavy neatly summarises the sound achieved by guitarist Dan Taylor, bassist Spencer Page and drummer Chris Ellul, while singer Kelvin Swaby adds the requisite guts and grit.