The atmosphere is stunned, reverential. [Jul 2022, p.87]

Tasty, raunchy and mind-expanding stuff. [Jul 2022, p.82]

Perhaps more than any other Rammstein album, it feels like a collection of songs deliberately built to soundtrack a future series of spectacular live set-pieces. [Jul 2022, p.81]

On Fear Of The Dawn his foot spends plenty of time flat on the fuzz pedal. [Jul 2022, p.80]

Across 70 minutes, the band return in their heavier style. [Jul 2022, p.80]

C’mon You Know itself is a bit of a cracker, finding a ‘repentant’ Liam (‘I admit that I was angry for too long’ – choir-enhanced opener More Power) gleefully infuriating his usual detractors (with Diamonds In The Dark’s ‘Now I know how many holes it takes to…’ hook), delivering catnip ballads (Too Good For Giving Up), hitting all the right Liam Gallagher buttons (Don’t Go Halfway) and occasionally kicking hand-me-down Stonesy arse (Everything’s Electric).

Resolutely back in rich, seamy and downbeat alt.country territory. [Jun 2022, p.83]

Trower’s guitar playing is deliciously inventive, whether he’s channelling Mark Knopfler on Wither On The Vine or moving closer to Eric Clapton circa 461 Ocean Boulevard on the title track.

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]

Rock'n'roll in 2022 doesn't get any better than this. [Jun 2022, p.82]

Twee and tuneful, self-consciously oddball and so indefatigably alt. [Jun 2022, p.83]

It's instantly accessible. [Jun 2022, p.78]

Ann Wilson knows her music history, and it resonates powerfully throughout this fine album. [May 2022, p.82]

This is not easy listening but it is arguably Laibach's most sonically rich, least ironic, most mature work to date. [May 2022, p.81]

Guitarist Russell Lissack counters the intoxicating synthetics with some of his most powerful work yet. ... Elemental. [May 2022, p.80]

Raitt has once more demonstrated her ability to distill the essence of human emotion down to its most potent form.

They ramp up the melodicism and play with all the gusto of musicians who have been separated for far too long.

There's a straight-forward brilliance to this covers set. [May 2022, p.85]

Bob Vylan arrive as a much-needed wake-up call, but it's one that's already electric. [May 2022, p.81]

Feels like the work of a man who’s rediscovered his mojo.

Overall a thoughtful hoot. [May 2022, p.83]

The results, from the likes of Billy Gibbons, Joe Walsh, Joe Bonamassa, Warren Haynes and Derek Trucks, are impressive. But ultimately you don’t learn as much about Johnny himself as you would from listening to the originals of the 17 tracks presented here. [May 2022, p.85]

Turn It On! is the rock'n'roll equivalent of a dazzling ray of sunshine. [May 2022, p.84]

The energy levels let up only on the disappointingly crowd-pleasing ballad leave On. Vocalist Jacoby Shaddix's sweat-soaked urgency feels right for these times. [May 2022, p.86]

The speedometer doesn't quite reach the heights of Wreckless Abandon but a consistent buzz keeps the Heartbreakers spirit alive and kicking. [May 2022, p.82]

Wordy, evocative, Pete's absinthe-flavoured fantasy Life fits its cliched template extraordinarily well. [May 2022, p.87]

Hooks hook, riffs riff, senses smoulder, resistance is futile. [May 2022, p.87]

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