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

An elegant and accomplished treasure from experts in their field. [Jul 2022, p.80]

Light, airy, clear, strong, astonishing. [Jul 2022, p.83]

Channel[s] the nagging ingenuity of classic post-punk(pop) to sparkling effect. [Jul 2022, p.83]

A handful sprawl and meander a little because, hey, who would dare edit two revered avant-rock overlords? But otherwise quality levels are reliably high. ... This is the best Radiohead album in over a decade.

This second album brings the heft and enormity to make them serious contenders. [Jul 2022, p.78]

White Jesus Black Problems is a wide-ranging sprawl of sound. On a purely musical level, it's all over the place in the best possible sense. [Jul 2022, p.82]

For much of it they elect to look backwards, to formative times in their music story. [Jul 2022, p.82]

Suffering a little from the transition from live set to bootleg to official release. [Jul 2022, p.87]

It's a delight to hear the fully emergent Young so up and close with such a pantheon of wonder, and the sound is near-perfect. [Jul 2022, p.87]

The atmosphere is stunned, reverential. [Jul 2022, p.87]

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

Perhaps more than any other Rammstein album, it feels like a collection of songs deliberately built to soundtrack a future series of spectacular live set-pieces. [Jul 2022, p.81]

On Fear Of The Dawn his foot spends plenty of time flat on the fuzz pedal. [Jul 2022, p.80]

Across 70 minutes, the band return in their heavier style. [Jul 2022, p.80]

C’mon You Know itself is a bit of a cracker, finding a ‘repentant’ Liam (‘I admit that I was angry for too long’ – choir-enhanced opener More Power) gleefully infuriating his usual detractors (with Diamonds In The Dark’s ‘Now I know how many holes it takes to…’ hook), delivering catnip ballads (Too Good For Giving Up), hitting all the right Liam Gallagher buttons (Don’t Go Halfway) and occasionally kicking hand-me-down Stonesy arse (Everything’s Electric).

Resolutely back in rich, seamy and downbeat alt.country territory. [Jun 2022, p.83]

Trower’s guitar playing is deliciously inventive, whether he’s channelling Mark Knopfler on Wither On The Vine or moving closer to Eric Clapton circa 461 Ocean Boulevard on the title track.

The title track about wanting to know more about your partner, is strong enough to rise above the clichés, but some others are not so fortunate. [Jun 2022, p.79]

Rock'n'roll in 2022 doesn't get any better than this. [Jun 2022, p.82]

Twee and tuneful, self-consciously oddball and so indefatigably alt. [Jun 2022, p.83]

It's instantly accessible. [Jun 2022, p.78]

Ann Wilson knows her music history, and it resonates powerfully throughout this fine album. [May 2022, p.82]

This is not easy listening but it is arguably Laibach's most sonically rich, least ironic, most mature work to date. [May 2022, p.81]

Guitarist Russell Lissack counters the intoxicating synthetics with some of his most powerful work yet. ... Elemental. [May 2022, p.80]

Raitt has once more demonstrated her ability to distill the essence of human emotion down to its most potent form.

They ramp up the melodicism and play with all the gusto of musicians who have been separated for far too long.

There's a straight-forward brilliance to this covers set. [May 2022, p.85]