What this amounts to is a sharp and often exhilarating change of gear from the Green Day of the past eight years. [22 Sep 2012, p.50]

This remains a feral ball of aggression and loathing. And frankly, we wouldn't want it any other way. [13 Oct 2012, p.54]

Sure, it's hard to tell some of the more sombre tracks apart, but if it's complex, squishy emotions you're after, Maybeshewill are definitely speaking your language. [16 Aug 2014, p.54]

It's just that Dirty work is merely a good album, when it should be a great one. [4 Jun 2011, p.51]

Hot Cakes may tail off a bit, but, ultimately, it proves as capable of suspending your belief and blowing your mind as any blockbuster. [18 Aug 2012, p.52]

This is almost dangerously infectious stuff from ASIWYFA. [23 Mar 2013, p.54]

There are points at which this all feels a little hollow. [6 Dec 2014, p.52]

There may not dispense with metalcore's regular musical motifs, then, yet the ire throughout is genuine enough that you can feel flecks of venom melting vocalist Matty Mullins' microphone. [4 Jun 2011, p.53]

Mostly, though, Red Fang rock, with pile-driving riffs and monstrous grooves that you can't simply laugh off. [15 Oct 2016, p.53]

Linkin Park's fourth album plots a remarkable course. It is, in fact, nothing less than the sound of their hybrid theory soaring to its logical conclusion. [11 Sep 2010, p.50]

However much it lacks the crunch and thrust of classic Helmet albums like Meantime or Betty, though, Seeing Eye Dog is still a fine addition to the band's catalogue. [4 Sep 2010, p.52]

Despite throwing some creative curveballs into the mix, Vale feels very much like the rue follow-up to Wretched And Divine, and sees Black Veil Brides writing their own myth once more. [13 Jan 2018, p.50]

Get The Money might not set the world ablaze like the rock bands to which it is clearly indebted, but it sounds like Taylor burning one while rocking on. Which means there’s still plenty here to put a smile on your face.

When it works, it's brilliantly dumb fun. But when it doesn't, you end up with stuff like DD's. [4 May 2013, p.53]

There's a fresh, East-meets-West ingenuity on culture-clash cuts such as Wrestling Israel, amid the straight-up, old-fashioned fury on the title track, and closers #OccupyEarth and Stop the Apocalypse. [8 Sep 2012, p.53]

Weird! is a collection of good moments disappointingly hidden under an avalanche of sugar.

It's edgy. inventive, and occasionally frustrating. [2 Jun 2012, p.53]

BC's second album fizzes with both upbeat hymns to fun in the sun and achingly sad odes to lost love. [May 2012, p.53

Perhaps a little of the sparkle the absent Alkaline Trio two bring is missing here, yet pleasingly little else is. [12 May 2012, p.54]

Ultimately, the record's slower moments, Life Can't Get Much Better and Reason To Stay, keep Youth Authority from reaching the heights of their triple-platinum The Young And The Hopeless. Nevertheless, this collection of bright and lively summer anthems makes Good Charlotte's return a welcomed one. [9 Jul 2016, p.50]

A right royal ripper. [16 Sep 2017, p.51]

It's the sound of an already good band driving themselves to become greater, determined to not only maintain their impressive momentum, but also to head beyond where they've already been. [18 Jan 2014, p.52]

Once again, it's a sonic petrol bomb that makes you feel like you've been set on fire, and once again The Prodigy have proved nobody does it better. [3 Nov 2018, p.59]

While its range is, on the one hand, impressive, on the other it means that Audio Secrecy lacks something in focus, even perhaps authority. [4 Sep 2010, p.50]

With singer Lacey Sturm plastering every word in M-E-L-O-D-Y, she ensures that the choruses of Fire Fire, Cage On The Ground and the title track all pirouette around you brain for days. [13 Apr 2013, p.60]

This is a bloody good CoB album. [8 Jun 2013, p.54]

The songs stick around a little longer, the sarcasm seems tuned back a notch, and melody is the fore in lieu of flurried dashes to the finish line. [22 Jun 2013, p.52]

This is music that has no mind for the commercial, which is a quality we all might applaud. But be warned, this is intense stuff. [16 Apr 2016, p.53]

This album is long. [10 Jun 2017, p.51]

Some of the tracks judder with a rhythm to which you cam only dance when in the throes of an electric shock. But as wearisome as these sections tend to be, they are almost wholly redeemed by moments of musical brilliance, moments which border on the sublime. [25 Jun 2016, p.50]

It may not be rocket science, but there is an art to doing this right and Simple Plan have once again pulled it off. [18 Jun 2011, p.52]

When it works, as it does particularly well on Should've and Doesn't Matter, the results are impressive. But Throughout, Falling is Never less than commendable. [27 Jul 2019, p.57]

The Last Spire is the sound of Cathedral going out on a high. [27 Apr 2013, p.55]

Occasionally, they can get bogged-down in their particularly scuzzy groove, but for those who prefer their duos nasty inside and out, this is a wonderful caterwaul to get lost in. [24 Sep 2016, p.52]

At its best, Hvman:||:Natvre has the impressive magic that has made Nightwish one of Europe’s biggest bands. But there’s a feeling this time that for such a big concept, things haven’t gone quite far enough.

Ultimately, there are enough ideas on display here to just about see Twin Atlantic right. While it may not be a clear-cut success, Transparency does prove once again that its creators have it in them to be bloody great.

While their sloganeering remains simplistic, the courage of their convictions continues to drive them forward against an unforgiving world in style. [18 Jun 2011, p.51]

This is a more organic effort. [28 Sep 2013, p.52]

At his worst it feels more like a parody than a tribute. [29 Oct 2011, p.51]

When Måneskin tap into the youthful exuberance and fiery eccentricity that got them here in the first place, though, they’re still utterly unstoppable.

The highs far outweigh the lows. [9 Mar 2013, p. 50]

If you're kind of person who needs some wallop in your music, Your Wilderness is probably not for you. However, if you're partial to ethereal music so gentle it feels like it might break if you pay too much attention to it, then prepare to fall in love. [20 Aug 2016, p.68]

They've finally made an album as noisy and expressive as their leader. [22 Sep 2012, p.52]

It’s a go-getter of a record that pays homage to the greats whilst still feeling brand new. YUNGBLUD’s outlandishness makes him a hard pill to swallow for some, but his guts, drive, and devotion to his craft cannot be denied.

This one's a reduction of their dense, danceable punk rock into two main groups: lairy and louche. [9 Sep 2017, p.52]

Lyrically, [frontman Pierre Bouvier] and his bandmates have barely matured from the whimpering youngsters they were when they made it big 14 years ago.... However, if you accept Taking One For The Team for what it is, which is just another Simple Plan album, then there's lots to enjoy. [20 Feb 2016, p.50]

Although everything is rendered with a high-shine gloss and sanitised precision that makes it more saccharine than Sex Pistols, there's still an enjoyment to be had on a basic level. [5 Jul 2014, p.53]

While what's here is good, there could have been more to get your teeth into. At eight songs in length, this collection feels a little slight. [17 Nov 2018, p.69]

It's another diverse and engaging album from a band proudly aging like a fine malt whiskey. [28 May 2011, p.51]

It's brighter, somehow more optimistic album, in which sweet melodies surface from growling, howling guitars and a storm of whirling noise. [1 Sep 2012, p.51]

They may tick all the metalcore boxes, but do so with aplomb. [30 Jun 2012, p.54]

On this ninth album, they sound largely the same. [30 Mar 2013, p.54]

While Dave's guitars are still engaging, their spirit is undone by a lack of soul underneath. [28 Aug 2010, p.54]

Anthemic opener Lords Of Abbadon, Indian Summer and the gutter-sleaze of Cocaine are the crowd-pleaser, but the main thing is that Loaded sound like a proper band now. [16 Apr 2011, p.51]

The result is a bouncy, punk-fuelled album that's entertaining enough if throwaway in the extreme. [12 Nov 2011, p.53]

Yes, it ultimately makes for predictable stuff, but Black Star Riders play bullshit-free unpretentious rock. [15 Jun 2013, p.54]

Some people may find this outdated, but it's an absolute treasure chest for slavish fans. [19 Jul 2014, p.53]

It plays out like a sulking child trapped in the seat of a supermarket trolley. [18 Jul 2015, p.52]

Too often, each song's relentless march toward the kind of chorus you can imagine providing the soundtrack for a bevy of beautiful, suburban cheerleaders is too much to take. [4 Feb 2017, p.52]

Despite Tom’s superlative guitar playing tying it all together, the way it switches genres and atmosphere so chaotically ultimately makes it too uneven to really work as an album. Still, there are plenty of gems here, and – given how disparate it all is – probably something for everyone, no matter where your musical tastes lie.

It has one or two fine songs, A Song For A Son is probably Billy's best since Adore in 1998 but , decent though it is, it's not a Smashing Pumpkins record. [5 Jun 2010, p.50]

Scattershot. [20 Jan 2018, p.53]

The Canterbury quartet have cemented an incredibly engaging style all of their own. [10 Mar 2018, p.55]

Not only is United We Stand a triumph, it's a thrilling love letter to nearly 30 years of alt-rock. [5 May 2012, p.53]

It's a good album, but one undone by its more extreme moments. [25 Feb 2012, p.52]

Like its two predecessors, this is solid Skunk that doesn't quite have the songs to match their ground-breaking first two albums. [9 Jan 2016, p.51]

Twilight sound astonishingly cold here. [15 Mar 2014, p.55]

You can hear where he's heading with ideas, but, for the most part, these are more sketches than fully-formed songs. [16 Jan 2016, p.52]

Some songs float by without leaving much of a mark, but Balance And Composure's dedication to reinvention should be lauded. [5 Nov 2016, p.52]

In Waves draws from the band's entire repertoire and shapes what it finds into a defining and definitive set. [6 Aug 2011, p.50]

Flat, uninspired riffs dressed up in pointless electronics and presided by the watery wailing of Darroh Sudderth. [30 Jul 2011, p.51]

Black Labyrinth is an interesting, if flawed distraction from this icon--though it doesn't justify a 10-year wait. [26 May 2018, p.53]

Murderous fantasy-fulfillment, it may be. But nobody does it better. [25 Mar 2017, p.50]

They're never going to be the heaviest band in the world, but Minus The bear are at their strongest when they threaten to get their claws out. [25 Mar 2017, p.52]

While Wretched And Divine might not be a game changer, for many people it could--and it should--be an opinion changer. [5 Jan 2013, p.54]

Good Charlotte have written an album for the modern era: honest, powerful and, most importantly, real. [22 Sep 2018, p.54]

The final album in the set is the best of the bunch, [8 Dec 2012, p.50]

Once again, Enslaved have produced music that kicks slavish notions of genre limitations into touch. [29 Sep 2012, p.54]

Greta Van Fleet aren’t offering anything innovative or original, and much of their appeal surely comes from listeners’ appetite for simpler times of players plugging in and rocking out which will never truly be rekindled. Hand yourself over to a psychedelic song of praise like Trip The Light Fantastic, though, or fall into The Weight Of Dreams’ fathomless nine minutes, and this legitimately might be the next best thing.

It’s very pleasantly chill, but after a while it does start to get a touch samey. Still, for those looking for something with vibe firmly in place, as ever, Turnover deliver exactly what you’re looking for here.

These days, you sense, they'd rather have cheese and wine than kegs, coke and skipful of strippers. There are still some fine moments here, however. [31 Jul 2010, p.50]

This is an album that works best when at its most obscure. [19 Mar 2011, p.50

The Lunar Injection… is too long and could easily be trimmed of material most diplomatically described as ​‘non-essential’, particularly the little instrumentals/sample-laden wig outs between tracks. The rub is, of course, that these short sonic mood boards are often the bits where Zombie tries something new.

Their career trajectory continues its upward arc--but with City of Vultures, Rise To Remains have stamped on the accelerator. [3 Sep 2011, p.50]

Holy Roller packs all the cloying jangle of a thousand mid-'00s forgotten filler tracks, while closer Palace doesn't so much dampen gunpowder as drop curtain with a watery "plop." But swagger frequently outweigh s stumble, and the band's innate sense of class shines brightly throughout. [10 Jun 2017, p.50]

Whereas Puscifer's early output exercised his funny bone, the rather brilliant Conditions Of My Parole exorcises it. [15 Oct 2011, p.52]

Too many songs utilise the same plodding, mid-paced grooves and simple, one-line refrains. [5 Oct 2013, p.54]

A very impressive album. [26 Nov 2016, p.51]

Two albums into their 21st century reunion, and the unhinged genius of early albums Surfer Rosa and Doolittle is largely lacking, replaced by the not unpleasant sound of old friends having a blast. [8 Oct 2016, p.52]

Perhaps more a flight of fancy than a labour of love, this is still a striking offering from the Transplants. [29 Jun 2013, p.54]

[Peace is] packed with well-crafted and thoughtfully arranged compositions. [28 Sep 2013, p.54]

A record that is surprisingly flat and unremarkable. [21 Jul 2018, p.55]

And so, just like that, Tenacious D are back. They're funny, they're absurd and they're hotter than a phoenix. Sorry, fenix. Let's just hope we don't have to wait another six years for the next one. [May 2012, p.52]

Where it fails as a cohesive piece of art is the lack of continuity, save for Travis' own considerable drumming. [26 Mar 2011, p.51]

Impeccably executed as it all is, though, the songs lack genuine distinction and the whole thing plays out in a series of weary cliches. [13 Aug 2011, p.52]

This is Weezer experimenting a little, while still remaining recognisably them. For those down for this sort of thing, stick on your dancing shoes and go with Pacific Daydream's flow. [21 Oct 2017, p.50]

Fortunately, Even in Arcadia’s minor quibbles are easily dwarfed by the height of its peaks. It isn’t quite an album of all-timers, but it’s more than enough to bring in wave after wave of gleaming gold spoils all over again.

It's not perfect by any means, but taking this for what it is, Vultures is a gnarly debut effort. [29 Sep 2012, p.52]