It's wise, but rhythmically, musically, it feels Byrne's age. [May 2018, p.91]

Alcohol And Cocainemarijuananicotine, is borderline endearing, while Love Thyself reminds us that Taylor-Taylor can still write pop hooks whenever he can be bothered. [May 2024, p.77]

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

Perfection, though, remains unattainable thanks to Barney Sumner, whose enthusiasm is such that he adds an uncommon amount of whoops and yelps to songs that really do not need any. [Aug 2013, p.89]

While nobody would mistake it for the work of a man who's trying too hard, it's not without its charms. [Sep 2020, p.87]

The result is less a coherent statement and more a collection of songs that simply show off their eclectic influences and their ability to reproduce them well. [May 2018, p.91]

The song titles may be a little lacking this time round (although The Sordid Soliloquy Of Sawborg Destructo makes up for it), but The Blood of Gods is more of the same monstrous bilge.

Dependably solid. [Nov 2019, p.85]

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

Highlights are the punchy pop-metal of Got The Power and the greasy glamorama of The Reverend, replete with satisfyingly fuzzy guitar, but Zipper Down misses as much as it hits.

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]

Ironically, these more daring forays emphasise the inoffensive blandness of some of the other tracks, but if the future holds more similarly brave experimentation then ZBB are on a fascinating career trajectory.

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

Overall ATW seem "smaller" somehow, where previous records were... well, bigger. If it were anyone else we'd be more impressed, but ATW can do better. [Nov 2018, p.80]

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]

Tunes and sound both stay below the Gold Standard. [Dec 2014, p.104]

A case of more darkness required. [Mar 2015, p.94]

It’s all great if you’re willing to strap on some cowboy boots and hop on the nearest hayride, but hardcore rockers are gonna wanna sit this one out.

This is a more conventional album. [Dec 2014, p.104]

Overall these Merseyside extreme-metal veterans sound a little unfocused and uninspired on this record, falling back on tired retro-metal tropes. [Oct 2021, p.72]

It's a fine line between hypnotic and soporific, but he's usually on the right side. [Nov 2018, p.83]

Too much of Big Music seems to be reaching for a gravitas it can't back up with emotional or musical substance. [Dec 2014, p.104]

Independence Day is normal for Neil: he tests the climate and the atmospherics are depressing. Terrorise Me, a response to the Bataclan outrage, is the key piece. The rest is no faffing and easy listening.

Language Of The Dead is a 21st-century wake-up call, dismissing the knowledge of a civilised past and demanding we toss our "idols into the sea," to catch some of the rock'n'roll "lightning" slashing throughout the skies instead. At such moments, the cathedral-sized keyboards don't sound quite so fake. [Dec 2014, p.105]

The album suffers from the Lips' recent tendency for ambient, Blade Runner interludes, while jazzy plods and one-note vocoder drug confessionals drag things to a muted, half-baked crawl. [Apr 2020, p.87]

There are many less rewarding experiences than hearing Springsteen thirstily sing his favourite songs, but there’s a sense here that all concerned hope it would catch fire and amount to something more. [Dec 2022, p.76]

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

Somewhat lacking in real character of its ow, there is nevertheless a certain charm to this album, and it's sure to trigger a nostalgia trip in those who came of age at the turn of the current century. [Oct 2019, p.89]