Somebody's Knocking

The feelings of isolation that Lanegan has channeled into his music and lyrics are beautifully served by the influences that he’s using, and the result is an album that feels both current and historical. Most importantly, it’s another absolute masterclass crammed with songs that drill their way into your head and stay there.

It's an album of great depth and poignant melody and one that certainly rewards the listener after repeated plays.

Somebody’s Knocking could be a lost 1980s New Wave album. A really good one. ... What’s impressive about the album is that while the mode of delivery is electronic, there’s a live heartbeat beneath all of the songs that consistently reveals Lanegan’s humanity.

Sometimes there is the sense that he’s not so much alchemising the past into something new as reminding you of other, rather better songs: Night Flight to Kabul and Dark Disco Jag might both make you want to seek out Sisters of Mercy’s Dominion/Mother Russia instead. But, for the most part, Somebody’s Knocking is triumphant.

It's Lanegan's Americana growl that keeps the whole thing sounding ironically timeless. [Nov 2019, p.85]

Somebody’s Knocking sees the former Screaming Trees frontman continue his foray into electronica, subtly blending ice-cool synths with dirgey guitars and doom-laden imagery to reveal a love of ‘80s English alt-rock. ... Welcome back.

Somebody's Knocking is undoubtedly a labour of love for its creator, and a joy for everybody else. [12 Oct 2019, p.55]

Lanegan brings dependable authenticity to these savvy pop songs; dire admonitions, but also an abundance of swagger and fun. [Nov 2019, p.94]

There's a real elegance, even a joy, to the way he mixes his dark materials. [Nov 2019, p.112]

There is something for every Mark Lanegan fan. It is also a good starting point for those unaware of his music. The only mildly bothering element is the production, since it doesn’t fit every tune. On the upside, there’s a rawness to the guitars and especially the vocals (most of the time they sound as if he’s singing in your room in front of you). Even so, during the multi-layered parts, some details get lost in a muddy pool of reverb.

More than a few of Lanegan's longtime fans will be puzzled by his transformation into the party animal of the dark side, but his vocals are typically strong, and he sounds fully engaged with the material, happy to be visiting the VIP section of the Place Where Nothing Living Goes, and he's excited and challenged in a way he's hasn't sounded in a while.

Lanegan's lyrics are as daft as ever. But that growling baritone voice and the soundscapes are never less than compelling. [Nov 2019, p.27]