A genuine emotional affinity underpins the marriage between Lanegan's lupine growl and 12 melodramatic songs of masculine despair. [Oct 2013, p.70]

Tribute To 2 is a richer and more complex collection [than his previous cover releases]. [Jan 2018, p.20]

In terms of breath-snatching bravura, Worden shines very brightly indeed. [July 2008, p.105]

This album is overflowing with ideas that the band don't have the means--or, indeed, the patience--to explore fully. [Feb 2009, p.85]

If it sounds suspiciously of coffee table, it is. But the coffee is freshly grounded, and thr table an elegant modernist sculpture. [Nov 2008, p.119]

The religious theme intimated by the title ensures that there is more going on with each track than mere mindless dirge. [Nov 2009, p.99]

There are plenty of moments where everything clicks, with Sun Araw's dayglo-acid guitar skirling over motorik rhythms and hubble-bubble analogica. But these don't on their own justify its existence, alas. [Oct 2011, p.84]

Bastards sounds like a new Bjork album rather than a cursory add-on. [Jan 2013, p.71]

It's Wells' unorthodox vision that presides. [Jan 2016, p.81]

The result is quiet success. [Mar 2018, p.25]

Some good songs emerge--"Ego Central High" is a glammy gem that makes its repetitiveness a virtue--but otherwise this is heavy listening that too often edges towards stodge. [Dec 2019, p.29]

[Producer Dessner's] immersive production, including layered keyboards and twinkling harmonics, pairs perfectly with her elegant voice. [Sep 2020, p.29]

We have properly zippy bangers for the moshpit in Atomic Revelations, These Scars Won't Define Us and the monstrous Addicted To Pain - but there's exploration aplenty here, abd the band sound all the better for it. [Jun 2025, p.103]

It's all well-crafted, but the end result can often sound like a slightly disjointed compilation album. [Feb 2013, p.70]

A power-shower of dour. [Oct 2013, p.68]

Hardly revelatory, but compelling in its sustained vision. [Apr 2012, p.73]

It is difficult to argue, however, that the second batch of Pixies records have been as thick on quality. It’s a trend that The Night The Zombies Came does little to buck – though the spectacular surf-psychedelia of “Motoroller” could have made Bossanova, and the glorious thrash of “Oyster Beds” snuck onto Trompe Le Monde. [Dec 2024, p.37]

Neither embarrassing nor unenjoyable, then, but still an exercise bearing a cautionary sting. [Nov 2005, p.98]

[The] rather slight songs raise the suspicion you would get more out of listening to Clinic's record collection than the band themselves. [Oct 2012, p.68]

The prevalent mood is somewhat dour, and the loss of Steve Shelley blunts some of the dynamism in Disappears' dogged repetitions. [Nov 2013, p.69]

There's a strong senes of '76 punk to All in God Time, more precisely bands like the Damned and Dead Boys. [Mar 2020, p.27]

Among The leaves is entirely consistent with the rest of Kozelek's fine catalogue. [Aug 2012, p.63]

It's more of a halfway house, with both acts' distinctive styles diluted as they server up '90s breakbeats ("Kokiri", "Fleece") and light industrial spoken-word pieces ("Nowhere"). Only the jangly promise of "passerine" sung by Emma Acs, hunts at a newish direction. [Mar 2025, p.35]

[The] excellent follow-up [to its 2010 debut] finds John Kowalski and Rian Trench playing to their strengths with horizons newly broadened. [Jun 2013, p.79]

Half of these tracks are superfluous, but the other half are mixtape gold. [Sep 2010, p.108]

With Lanegan, Nick McCabe and Ani DeFranco along for the ride, Dulli's roiling, captivatingly haunted songs detonate with incandescent splendor. [Mar 2011, p.

Intelligent and addictive. [Nov 2003, p.110]

I Am The Last has a wind in its sails, though, thanks to Tibet's preacher vigour, and an extraordinary guestlist. [May 2014, p.71]