Despite its nonlinear creation, the album is one of their tightest and most consistent in years. [Sep 2019, p.83]

As bananas as it is brilliant, Face Stabber is a poke in the eye for anyone who says guitar bands are running out of ideas. [Sep 2019, p.83]

A polished vista rock for anyone in urgent need of a Foos stopgap. [Sep 2019, p.83]

Wonderfully cohesive hour of vein-popping indignation. [Sep 2019, p.82]

Nobody will pretend Atonement is a classic. But it is firmly fired up. [Sep 2019, p.82]

Frontman Stu Mackenzie nails a Hetfield-esque gurgle from the galloping, squiddle-spattered opener Planet B, and it’s hard to resist the rat-a-tat riff and stuttering vocal of Self-immolate or the insistent turbo-Sabbath churn of Mars For The Rich.

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce.

Every aspect of the band's sound coalesce on a series of stunning songs that have massive melodic grace and power. [Aug 2019, p.84]

A towering testament to a much-missed band. [Aug 2019, p.84]

Despite its lack of Pistols and Clash this is an accurate representation of the year punk broke, which wasn't quite as great as all those of us that were there like to pretend. [Aug 2019, p.88]

Producers Andy Zax and Steve Woolard have considerably expanded available sets by Richie Havens, Sha Na Na, Janis Joplin, Mountain and dying-a-death Incredible String Band; but analysis reveals more often just adding one extra track, albiet good ones. [Aug 2019, p.90]

Craft's previous work suggested he might have an album in him which is as wry as it is earnestly heroic. This is it. [Aug 2019, p.80]

The barrage of noise that results is undeniably epic, oddly stirring and gloriously daft. [Aug 2019, p.81]

A Violent Femmes album is always a treat; witty, lucid, self-deprecating, beat-up but ever-reliable. ... Hotel Last Resort is all of that. [Aug 2019, p.95]

Southern rockers like Under The Gun, Get Yourself Together and Breaking Down are as infectious as mad cowboy disease. When they do branch out, it's into Fleetwood Mac gossamer balladry and adorable Stealers Wheel soft rock. They'll find that the world has not changed the locks. [Aug 2019, p.83]

Servants Of The Sun is their most cohesive, joyous and beautiful record yet. [Aug 2019, p.82]

For all its psychedelic abstraction, King's Mouth is often melodic and warmly accessible. [Aug 2019, p.80]

Difficult to separate the jokers from the aces. [Aug 2019, p.80]

Dazzling, daring stuff. [Summer 2019, p.86]

Atmospheric, cinematic, dramatic, evocative. [Summer 2019, p.87]

While it might lack the golden glow of Shiflett's regular band, it's happy to bask in a bourbon haze a few seats along the bar from Blackberry Smoke and Whiskey Myers. [Summer 2019, p.86]

Great work. [Summer 2019, p.84]

It all makes for an entrancing half hour. [Summer 20219, p.86]

The whole thing sounds like a great lost album. Which of course it is. [Summer 2019, p.93]

Lacks the energy of old Rammstein, but makes up for it in controlled tensions and excellent material. [Summer 2019, p.87]

It's hardly essential, but not without charm. [Summer 2019, p.87]

Some space is wasted--the album would feel more concise without the ambient sonic interludes it's peppered with--but when they hit their stride, as on the magnificent Throw Me An Anchor, Baroness seem unstoppable. [Summer 2019, p.86]

Another album, another triumph, then, and rarely more richly deserved. [Summer 2019, p.84]