Songs From The Black Hole is unlikely to mean much to anyone not already dialled in to Prong’s gnarled, existentialist world view, but it’s difficult to begrudge them this indulgence. [Jun 2015, p.92]

While this ninth starts well it ultimately nags 'could do better'. And they have. [May 2023, p.81]

A mixed bag of variable results, then, though Reid’s voice remains consistently magnificent throughout.

His new album is also self-penned, with mixed results.

This slender exercise in flimsy whimsy boasts plenty f charm but few substantial songs. [Jun 2021, p.78]

The ultra-catchy pop-punk of old is there in spades, but they're taking a cold hard look at America on This Is Not Utopia. ... Not all gambles pay off. ... A fun romp with a serious undercurrent. [May 2021, p.91]

A fun album, but one in need of trimming and extra heft. [Aug 2022, p.69]

Punk can be a relative term, especially when applied to California. In comparison to The Pogues, Flogging Molly sound more like The Nolans. In fact, the Saw Doctors are nearer the mark. But all their rousing expat energy, best heard on The Hand Of John L Sullivan, can’t disguise a controlled finesse.

High Flyin' is fine, a romp, a moment captured in time. ... It remains more a curiosity than a necessity, though. [Jun 2023, p.82]

Occult Architecture is pleasing enough, if a little deodorised at times.

It's still awesome, of course, just don't expect to enjoy it. [May 2013, p.85]

Alas, by front-loading the album with the kind of numbers U2 would be proud of--witness Reverend--Walls grinds to a halt in tedious balladry, rather than scaling new heights.

If you compare this to past triumphs like Come My Fanatics and Dopethrone--albums that pushed doom metal into heavier and more joyously drug-addled territory than ever before--Wizard Bloody Wizard falls a spliff or two short of the mark.

They need just a little more musical and emotional grit to avoid fully surrendering to pastel-shaded midlife mellowness. [Jun 2021, p.76]

A solid addition to the canon, but not quite a classic.

Thomas might have this new album down as the James Gang teaming up with Tangerine Dream, but PU exist in a world their own, one that bears only passing resemblance to reality.

This is feeble stuff, more Benny Hill than Russell Brand. When they hit the target, The Darkness are untouchable, but too much of Pinewood Smile feels like a half-hearted wank when it should have been a mighty ear-shafting.

Each song title is followed by a reference to specific verses from the Bible that have spurred Anderson into lyrical action. The connection is not always easy to make, and sometimes you’re better off just going with his words, although they can take some unravelling at times. But that’s all part of the plan.

It's every bit as sprawling and dramatic as you'd expect from something set to be followed by a four-part comic book expanding on the story within the songs. [May 2013, p.86]

While the album is destined to remain underground, you just know Childish is in his element right there amid the grit and grime. [Sep 2019, p.84]

A game of two halves. ... Could please all. Or none. [Apr 2021, p.89]

Love Triangles Hate Squares is a forceful blast of passion-fired pastiche, but never quite escapes feeling like a cheap holiday in other people's history. [May 2013, p.87]

The quiet/loud dynamic is an elegant partnership here. [Sep 2018, p.93]

Four discs of heavy-lidded, slope-shouldered, shoe-gazing aural opioids. [May 2023, p.89]

Wild Cat does get samey with 11 songs, but it’s a whole lotta fun and fans will lap it up.

Not a great comeback, but just good enough. [Jun 2021, p.81]

There's a DIY feel and bouts of slacker tomfoolery to Varshons 2. [Mar 2019, p.88]

Resolute if hardly revolutionary form. [Jun 2015, p.96]