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]

Coathangers drives home the prevailing sense of compositional attitude meeting musical affirmation. Bravo! [Nov 2013, p.88]

Lightning Bolt could do with a bit more of that hot-wired sound. But its brutally hard-won optimism is satisfying enough. [Nov 2013, p.88]

Don't be intimidated by the heft; this is a tremendous thing. [Oct 2013, p.97]

The most thrilling of everything here is a newly discovered BC radio recording from 1964 that fizzes with the thrill of making music and being alive. [Oct 2013, p.92]

Ronnie Radke's lyrics are convincingly nasty. [Oct 2013, p.91]

Yes aging is difficult but Elton and Bernie seem to be making a good job of it. [Oct 2013, p.91]

Sequel lacks any major melodic cornerstone in the vein of Kilimanjaro or Down In Abion but it's also without the dreary, narcotic ska rambles that made previous Babyshambles efforts only half-listenable. [Oct 2013, p.90]

The techno-noir sonic palette here is as eclectic as ever. [Oct 2013, p.90]

Gloriously unpolished--and it feels very one-take--this is vintage American indie rock from experts in the field. [Oct 2013, p.90]

Musically the album is AB's heaviest so far, but it's never heavy handed. [Oct 2013, p.90]

The clunky title track aside, swagger and confidence distinctively enhanced by the likes of Garth Hudson, Joan Wasser, Jim Keltner, JA keeps it all alive and diversely tuneful. [Oct 2013, p.89]

While this album is unlikely to win them many new fans at this stage, there's plenty of the old charm twinkling away to get fans back on board their wonderfully strange little ship. [Oct 2013, p.89]

Rhythm & Blues is a proper double album: each disc is notionally themed though, as you'd rightly expect, there's plenty of each. [Oct 2013, p.88]

The Mule's taste and experience largely wins the day. [Oct 2013, p.87]

The result: low-key mastery from a songwriting lifer. [Oct 2013, p.86]

The vibe remains constant and satisfying. [Oct 2013, p.86]

McCauley strains a little too hard for unpolished authenticity over originality, but he still hits the emotional bullseye half the time. [Oct 2013, p.86]

For all its flaws, Rewind The Film shows they're not ready for the glue factory just yet. [Oct 2013, p.86]

It's not easy or cheery, but it's loaded with old gold. [Oct 2013, p.85]

Sound System is quite the piece of work. [Sep 2013, p.94]

More high-quality psychedelic-doom musings. [Sep 2013, p.93]

[The album] runs from garage rock to impressive reggae-tinged fuzzstompers. [Sep 2013, p.93]

I Hate Music is a fine addition to the canon, a little samey in places but it sweeps you along with its clattery blast and warm melodic hooks, [Sep 2013, p.93]

This overdue follow up to debut What Is? proves that years of touring a live show described as an "aural orgasm" hasn't blunted their sense of humour. [Sep 2013, p.92]

It has power, darkness and bucketloads of testosterone. [Sep 2013, p.92]

Their return album is a fire-and-brimstone rock-and-soul delight. [Sep 2013, p.91]

The quartet's explosive indignation is undeniably thrilling, as is their deft mastery of the genre's roaring dynamics. [Sep 2013, p.91]