The techno-noir sonic palette here is as eclectic as ever. [Oct 2013, p.90]

Gloriously unpolished--and it feels very one-take--this is vintage American indie rock from experts in the field. [Oct 2013, p.90]

Musically the album is AB's heaviest so far, but it's never heavy handed. [Oct 2013, p.90]

The clunky title track aside, swagger and confidence distinctively enhanced by the likes of Garth Hudson, Joan Wasser, Jim Keltner, JA keeps it all alive and diversely tuneful. [Oct 2013, p.89]

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]

Rhythm & Blues is a proper double album: each disc is notionally themed though, as you'd rightly expect, there's plenty of each. [Oct 2013, p.88]

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

The result: low-key mastery from a songwriting lifer. [Oct 2013, p.86]

The vibe remains constant and satisfying. [Oct 2013, p.86]

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]

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

It's not easy or cheery, but it's loaded with old gold. [Oct 2013, p.85]

Sound System is quite the piece of work. [Sep 2013, p.94]

More high-quality psychedelic-doom musings. [Sep 2013, p.93]

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

I Hate Music is a fine addition to the canon, a little samey in places but it sweeps you along with its clattery blast and warm melodic hooks, [Sep 2013, p.93]

This overdue follow up to debut What Is? proves that years of touring a live show described as an "aural orgasm" hasn't blunted their sense of humour. [Sep 2013, p.92]

It has power, darkness and bucketloads of testosterone. [Sep 2013, p.92]

Their return album is a fire-and-brimstone rock-and-soul delight. [Sep 2013, p.91]

The quartet's explosive indignation is undeniably thrilling, as is their deft mastery of the genre's roaring dynamics. [Sep 2013, p.91]

What's missing is just a little more "WTF?" [Sep 2013, p.90]

Torture, disgust and danger are all here, but so too are some sharp-barbed observations on screwed-up modern living. [Sep 2013, p.90]

An all-round triumph. [Sep 2013, p.90]

What they lack in scope is more than made up for by the physicality of their attack, chopping out jagged chords and rank fumes of garage-y noise. [Sep 2013, p.89]

Demented, wigged out and stupendously mind-blowing, White Hills can't be Brooklyn's best-kept secret much longer. [Sep 2013, p.88]

This album skips by far lighter than more ponderous collections like 2004's Together We're Heavy. [Sep 2013, p.88]

[It picks] up precisely where they left off in 1990. [Sep 2013, p.88]

A homage to the alchemical combination of Stills, the late Mike Bloomfield and Blood, Sweat And Tears keyboardist Al Kooper, it has all the hallmarks of a venture guided by pure nostalgia. However, on Can't Get enough, Stills, largely pulls it off. [Aug 2013, p.84]