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Feb 23, 2012This is pure, un-concentrated psychedelic boogie rock rooted in West Coast mysticism, Stax R&B and Memphis blues without pretext or pretense.
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MojoMar 23, 2012Ambitious, soulful and joyous. [Apr 2012, p.90]
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UncutMar 14, 2012Fabulous stuff all round. [Apr 2012, p.79]
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Mar 2, 2012As such, those looking for an eerily familiar--and often brilliant--throwback to the sounds of 1972, please enquire within.
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Feb 14, 2012The group manages to rise above many of their stereotypical, unoriginal contemporaries by featuring plenty of surprises and innovation (although there is still a very recognizable grounding throughout).
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Feb 14, 2012The Russian Wilds is Howlin Rain's most accessible recording, but enormous ambition and musical mastery of rock & roll's mighty past make it an essential one, too.
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Feb 14, 2012The inspirations and pot-dream idealism may be retro; the zeal and momentum are not.
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Feb 21, 2012The Russian Wilds is a demonstrative bid for being taken seriously, and these guys simply exhibit too much enthusiasm to be relegated to mere also-rans in the long shadow of Miller's previous band.
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Mar 1, 2012The Russian Wilds is hardly going to shock you to the core, but it's a more than able record by one of the most consistently strong groups in its genre.
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Feb 16, 2012The Russian Wilds captures the magic of on-stage jamming.
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Feb 17, 2012The Russian Wilds strives for timelessness, but sounds temporally adrift.
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Mar 20, 2012A few instrumental passages could have been reined in, while the misguided inclusion of the irritating 'Dark Side' is an unfortunate blight on what is, overall, a cascading and rewarding listen.
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Mar 12, 2012They ape the cons as well as the pros of 70s rock: longer-than-necessary songs, a weakness for cliche and, inevitably, unabashed retroism.
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Feb 14, 2012Beautifully played, immaculately recorded and bloated to the gills with 1970s album rock pretensions, it's a throwback to a time that most people don't remember very well (and few of those have any desire to revisit).
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Mar 20, 2012A curious hybrid, channelling both Bruce Springsteen's 'Darkness On The Edge Of Town' and Hendrix's 'Electric Ladyland' into proper classic rock ('Cherokee Werewolf') moments, but elsewhere sounding a bit elevator music.
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Mar 21, 2012We get big-budget bloat, lifeless lines, and none of the warmth or reality that would cause any label to take interest in the first place.