It would be exhausting to list all the crimes these two commit in the name of rock'n'roll on this record. ... Risible. [Sep 2022, p.75]

It's a roguish enough distillation of Aussie rock's most okish corners. [Sep 2022, p.73]

Kasabian's USP has always been a cocky straddling of indie rock and rave. It's a shame they pretty much discard it here. [Aug 2022, p.68]

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

Sweet-voiced grrrl-angst vocals meet grunge dynamics; non-committal Veruca Salt do post-Nirvana loud bit/miserable bit. I Mean, it's fine, but... meh. [Summer 2022, p.79]

The album was written on the hop, Newcombe spilling his brains right onto tape, and it shows – imperfections are made into a positive, the songs allowed to just naturally come into being.

He delves into lesser-known parts, like Wheel, a 1973 song about tragic, rural cycles, and he sings Old Road, as a sparse holler, akin to the original. Other songs celebrate the ‘gonzo country’ aims of Jerry Jeff, but Mr Bojangles and his worn-out shoes is still best in show.

The title track about wanting to know more about your partner, is strong enough to rise above the clichés, but some others are not so fortunate. [Jun 2022, p.79]

Nothing here is as good as their Sweet Jane, but it'll do. [May 2022, p.87]

It's all getting a bit too formulaic. [Apr 2022, p.83]

The majority of this all star tribute treads an inappropriately conformist path. [Apr 2022, p.83]

Meld[s] jangles, loops, fuzzes, plucks and floaty introspections. Heavy on shoe-gaze, light on Gallagher swagger. [Apr 2022, p.83]

C91 is an overstuffed hit-and-miss banquet of bittersweet popstalgia, great in parts but far from definitive. [Feb 2022, p.86]

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.

There awaits a winning collaboration between band and singer, but this isn't it. [Feb 2022, p.79]

The album emerging as willfully lo-fi, bouncing along on cheery electronica while McTrusty's almost spoken-word panic attack showcases his rich Glaswegian vocals. [Feb 2022, p.79]

While it does start to get a little repetitive, it's good to hear a band straying off the beaten track too play timeless music just for the sheer hell of it. [Dec 2021, p.72]

The rest of the album is all over the map, from electro-rocker Let’s Get The Party Started (featuring Oli Sykes of Bring Me The Horizon) to Charmed I’m Sure’s dub-step metal. It’s fun hearing Morello stretch out, though all but the most broadminded RATM fans are unlikely to feel the same way.

[A] blend of instrumental moods, torpid 80s indie and self-regarding songs that never entirely clear their launchpad. [Oct 2021, p.79]

Despite lofty ambitions to write a letter 'from God to humanity' on Restless Souls, these are counter-attacked by Rebel Girl, an overstuffed, over-sweetened, male gaze-heavy, lovelorn confection that completely overrides the potential of its title. ... nevertheless, Lifeforms is beautifully produced and catchy as hell, earning itself a spot on any intergalactic playlist. [Oct 2021, p.73]

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]

Quiet Town and Runaway Horses exhibit tender lyrical themes, and there's brief respite in the dreamy haze of Sleepwalker and Pressure Machine. However, nostalgia and the shattering of childhood idylls reoccur through In the Car Outside and In Another Life. [Oct 2021, p.78]

An album full of lo-fi pop-tinged melodies sugarcoating a bitter centre. [Summer 2021, p.86]

It's not exactly in Rikki's nadir, but neither is it exactly rock. [Jul 2021, p.87]

The sloganeering surfs in on a wave of ultra-catchy punk melodies, dragging the listener along in its wake. [Jul 2021, p.85]

Finds their former highs trapped behind glass, blurred and beclouded like the past year has been for all of us. [Jul 2021, p.86]

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

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