There is still enough here to inspire hope for the band in the future, but this album is not quiet there yet. [Dec 2014, p.106]

The concept of this album is about following a path that is eventually going to lead 20 years down the line and wonder where it will take you. [Nov 2014, p.94]

Amid all this doom, Therapy? sound reborn, utterly at ease with a sound they largely abandoned 20 years back. [May 2015, p.106]

This album takes Graveyard into a new realm, marking them as modern blues-rock craftsmen par excellence.

Each and every one of the songs on Priest’s latest full-length Firepower--and yes, we know Legs Diamond were there first--are three-way collaborations between fellow six-stringer Glenn Tipton, frontman Rob Halford and Faulkner himself. And hell, the latter doesn’t so much step up to the plate on this, the second album of Priest’s BOK (Beyond Our Ken) era, as trample it into tiny little pieces.

There's a renewed freshness and immediacy to several of the tracks, particularly in his laconic vocal delivery. [Dec 2019, p.80]

Blacktop Run reminds us that he is more of a musical rebel than his tattooed brethren. [Mar 2020, p.89]

Wire's past still sounds like rock's future. [Sep 2020, p.95]

Blue Oyster Cult continue to do whatever the hell they want. But the good, and perhaps surprising, news, given how long it’s been since we’ve last heard new music from them, is that it’s all good, and in places great.

Their interplay of conventional instruments is unconventionally jagged, pastoral, abrasive, exotic, heavy and light in equal measure. [Jan 2021, p.82]

The nine-song eulogy assumes the quality of a heady elixir. All told, a very wonderful thing. [Summer 2021, p.83]

No Taste is positively obese with ideas, street smart with a side order of Sonic Youth, a grrrlish death disco diva Banshee fest. [Dec 2021, p.75]

Cantrell's voice remains as strong as ever, unwavering and carrying a portentous authority. similarly, Let It lie, with its pounding, doom-laden, Black Sabbath-influenced riff, is the punch in the nose none of us knew we needed. [Nov 2024, p.78]

They're fully committed to the mythology of Gong throughout. [Apr 2026, p.79]

The result is masterful: unsettling, retro-futuristic, beautiful and intense, but deeply immersive and listenable.

While the album lacks the killer punch of a big hit single, it's full of charm and depth, making it a rare treat indeed. [Apr 2015, p.100]

A set of songs that sound like someone's favourite record collection. [Feb 2020, p.89]

Even when Fallon does resort to simply weeping into the sawdust – You Have Stolen My Heart and When You’re Ready – it’s over the sort of gorgeous and poignant love letters to his family that make homeliness feel close to Godliness. Such saccharine succour.

Bright New Disease weaving delightfully through disparate sonic territories, not so much pushing boundaries as booting them off a 100-story building and capturing the ensuant mess. [Summer 2023, p.76]

Visceral stuff, but here's hoping their post-Fitzsimmons (RIP) era takes The Hives on further unexpected journeys. [Sep 2023, p.80]

Bela Lugosi's Dead was a happy accident. The rest of the material finds a band fumbling for direction, even touching on ska, before an eerie delay appeared to invent their sound for them. [Dec 2018, p.93]

This ominous set of industrial ire and theatrical brooding sees him in his element, prioritising atmosphere over tunes, both coldly alien and vulnerably human. [Jul 2021, p.82]

What remains is a solid, engaging late-period Korn album that doesn’t add an awful lot to their legacy, but certainly doesn’t disgrace it.

Gritty, punchy and hooky. [Aug 2022, p.67]

This album is a pleasant listening experience, if not quite earth-shattering. [May 2026, p.77]

A master class in dancing away the heartache. [Jun 2021, p.76]

The record ends with a burst of Velvets fuzz-rock titled Hey Lou Reid - but it's only fitting on a record that burnishes their legend with such sizzling acid. [Apr 2024, p.76]

There’s gold to be uncovered here.