Overall you might have to go back to 1989's The Mind Is A Terrible Thing To Taste to find Ministry sounding quite as vital and engaged as they do here. [10 Mar 2018, p.55]

The album just needs a standout moment among Blood Red Shoes' moods to make these songs genuinely memorable. [1 Mar 2014, p.54]

As a neon-lit tonic to Drones, Simulation Theory is bang on the money. But as an exploration of a new frontier, it's a genuinely exciting musical adventure in its own right. [10 Nov 2018, p.53]

It's a study in twisted instrument abuse. [10 Jun 2012, p.54]

It's consistently excellent, showcasing the band's trademark riffy and psychedelic sides. [13 Sep 2014, p.53]

It might well be that The Darkness' finest moments are not behind them, after all. [30 May 2015, p.54]

blink's most musically ambitious, yet spiritually comprehensive, album to date. [2 Jul 2016, p.50]

Radkey's greatest strength is sounding urgent but never rushed. The greatest weakness is that they wear their influences like face tattoos. [22 Aug 2015, p.52]

With only the occasional chorus in English, singing along is tricky for us gaijin, but melodically these might be Rivers' catchiest songs since The Green Album. That makes this a hit in anyone's language. [25 May 2013, p.53]

That first album wasn't a one-off, and here The Temperance Movement have once again proved themselves masters of their craft. [2 Jan 2016, p.52]

Bar the addition of piano on a few tracks, I'm With You is not so much a fresh start as a wonderful, trouble-free return to the familiar, laid back West Coast rock terrain of their back-to-back classics, Californication and 2002's By The Way. [27 Aug 2011, p.50]

Dethalbum III makes for further arse kicking. [20 Oct 2012, p.54]

The overall result being that Dananananaykroyd have finally made actual songs rather than the exercises in unpredictability they have in the past. [11 Jun 2011, p.51]

The production is big on bluster and stadium-sized punch, but, sadly all of the passion's also been squeezed out here. [19 Feb 2012, p.51]

The Industrialist doesn't quite live up to the band's former glories. [[9 Jun 2012, p.53]

Greetings From California is an album that shines a light on The Madden Brothers' mature side. [13 Sep 2014, p.53]

This album's consistent quality should easily re-establish Evanescence back on the rock map in 2011. [1 Oct 2011, p.52]

A cohesive, hard-hitting and bold album. [13 Oct 2018, p.53]

This is an album packed not only with exuberant and quirkily innovative songs--songs that are busy with bounce and swerve--but also come equipped with a sense of energy and defiance that suggests that their authors are not going to give up simply because the terrain underfoot has become unsteady. [Sept 17 2011, p.52]

With its emphasis on freedom, this is the kind of stuff beloved of American who are heavily armed, piss-drunk,or both. The rest of the world need not apply, however. [13 Nov 2010, p.52]

Not Your Kind of People is a wonderful album full of something Garbage have never really possessed before: humanity. [May 2012, p.53]

While World On Fire isn't the finest thing Slash has, or will ever, put his name to, it still shows an iconic talent doing what he does very well. [6 Sep 2014, p.52]

Like the sonic equivalent of a Rorschach test, each track is riddled with vast soundscapes begging to be explored and made sense of. [2 May 2015, p.54]

When they're good, they are astounding, and almost impossible to adequately describe. When they miss the mark, though, this lot grate. [7 Mar 2015, p.54]

On the whole, though, while this is flawless and expertly crafted, it's also pretty unsatisfying. [26 Mar 2011, p.52]

Occasionally one song simple bleeds into another. ... On the whole, however, Underworld bears the mark of a band redefining who they are and putting themselves back on steady footing after a wobble. [6 Jan 2018, p.52]

The result is a claustrophobic classic that sharpens the focus of what is possible in the name of high-minded rock. [6 Jun 2015, p.50]

Nightmare marks the point which the Huntington Beach crew put away childish things and became men. [24 Jul 2010, p.50]

Apocalyptic Love, the album, is at its best when Slash is operating within the team. [9 Jun 2012, p.52]

It's not quite Destroyer good, but then again, it's not quite Animalize bad either. [13 Oct 2012, p.53]

These songs do not merely take a cursory glance at varied and disparate styles, but are, in fact, detailed and carefully conceived excavations. [2 Aug 2014, p.52]

It doesn't capture Buckcherry as big or as badass as they can be. [23 Feb 2013, p.51]

With Vice & Virtues Panic At The Disco sound like the kind of people your grandparents would like. That doesn't mean that they are people who make bad music, but it does mean that they are creators of an album that does not rock. [26 Mar 2011, p.50]

Every tracks leaves you wanting more (and not in a good way), and while Mates of State don't do anything wrong, they don't do much right, either. [6 Jun 2015, p.52]

Robert Schwartman may well looted Rivers Cuomo's brain given how wonderfully Weezer-y it gets. [6 Aug 2016, p.52]

Swirling, heady and claustrophobic at times, this is well worth further investigation. [21 Aug 2010, p.51]

It's the new songs (and remixes) that deserve the attention. [23 Feb 2013, p.52]

It's the sound of a band who know their craft inside out, but who aren't afraid to grow and try something new. [29 Sep 2012, p.53]

The whole thing is suitably drenched with nihilism, once more conveying the sense that, in their world, smiles should result in a beating, because everything is truly hopeless. [1 Jul 2017, p.52]

30 Seconds to Mars' latest collection is not cloying, expansive yet often economical, approachable without being familiar. [11 May 2013, p.52]

Away from the band which he made his name, the fingerprints of one of America's finest rock bands are present and correct. But away from the stripped down monster-balladry of It Ain't Easy, under his own wing Steven is capable of a few surprises. [6 Aug 2016, p.52]

Like all comebacks worthy of the listener's time, Indie Cindy is more than a rehash of the group's earlier near-hits, and is instead an outing that manages to surprise and enthrall. [19 Apr 2014, p.53]

Its lo-fi, organ-heavy, cheap drum machine-driven jams reveal his ear for fusing classic team-dream rock'n'roll with demented pastiche. [Sept 17 2011, p.51]

The vocals are hopelessly submerged in the mixing. Thankfully, the DVD provides brilliant (and necessary) distraction from the deflated vocal mix. [19 Mar 2011, p.52]

Cheap Girls aren't the most original band around, but they rock in all the right places. [10 May 2014, p.54]

Does it need to be quite as much of a lengthy binge as it is? Maybe not. But second helpings of something that’s fundamentally good are never a bad thing. And in the moment that Smashing Pumpkins currently find themselves – three-quarters reunioned, confident, dare one even say comfortable – there’s joy to be heard throughout, as they turn over rocks and see what they can find.

Expect to get sonically clobbered. Expect big things from Capture The Crown just down the line. [2 Aug 2014, p.54]

It's an uneven album. [10 Jan 2015, p.53]

Occasionally its brilliant--as on the thumpy disco electronics of V.I.T.R.O.L. and the sweetly memorable Hold Your Fire. Sadly, an equal amount of it flounders in a haze of boring shoegaze. [11 Jun 2016, p.53]

Their diesel-soaked biker rock is an uncomplicated joy. [13 Jan 2018, p.52]

10 tracks that are easily the weirdest, the boldest and – yes – most powerful material that the group have stuck their name on.

Amid softer, acoustic-led material are jubilant anthems like Walls Of Jericho, the biggest-hearted, most openly singable Bon Jovi track for many years. We Made It Look Easy and My First Guitar salute the past in different ways, but both are fond and emotive rather than chest-beating, and Living In Paradise is another big chorus showpiece that grows in both momentum and feels.

The instrumental epics remain compelling, but, as a complete work, this is too enveloped in its diverse attempts to please everyone to truly wow anybody from start to finish. [21 Aug 2010 ,p.51]

An album that's easily good enough to keep Wolfmother in orbit. [13 Feb 2016, p.53]

While this retains their characteristic strangeness, you could argue it isn't the best use of their considerable talents. [8 Nov 2014, p.54]

They're actually just listless, ambling nonsense. [30 Aug 2014, p.52]

Gwen and co. prove that, when it comes to state-of-the-art, good-time punk-dance, they're still the fairest of them all. [29 Sep 2012, p.54]

It finds the band sounding leaner and more direct than ever before, [11 Feb 2012, p.52]

Used Future comes embedded in a murderous groove and with enough trippy melodies to give off a genuinely psychedelic edge. [17 Mar 2018, p.55]

There are also songs that will undoubtedly kick it live, but it's not enough to prevent this from sounding merely ...nice. [10 Jun 2017, p.52]

There is nothing incendiary here. [27 Aug 2011, p.51]

There's a certain dumb fun attached to the gonzo country rock of Drinking Beer With Dad, but, in truth, we'd be lion to you if we said First Kiss was good. [14 Feb 2015, p.53]

There's nothing on the album that's going to suddenly turn them into queen bees again, but Alien Ant Farm here prove themselves to be an enterprise running on more than just the fumes of nostalgia. [14 Mar 2015, p.53]

This is a collection of classic covers and reimaginings if Primus gems done country-style. [25 Jan 2014, p.54]

With a nod to the classic rock that inspired them, Greta Van Fleet continue to contort those great influences in challenging and evocative new directions.

Th songs are reductive, redundant, unimaginative, and dull. [26 May 2012, p.54]

The songs blurring together in a collision of lurching, down-tuned juddering riffs and electronics. ... Tedious. [6 Jul 2019, p.55]

Megadeth (the album) is the perfect encapsulation of how Megadeth (the band) have lived: bold, frequently brilliant but occasionally flawed.

This is straight-up post-hardore. [14 Sep 2013, p.53]

Bad Religion are still capable of holding on to their defiantly secular edge. [9 Nov 2013, p.53]

It might attract a few Mumford fans, but if you prefer Yellowcard to sound like, well, Yellowcard, stick to the original. [10 Aug 2013, p.55]

Too often, Living Things is the sound of a band with vast talent, but also one that hasn't figured out where to go next. [23 Jun 2012, p.52]

The Oracle sounds like it was written on autopilot, with the band ticking off the ingredients that made previous albums sell with out injecting any fire or imagination. [3 Jul 2010, p.51]

This second self-titled album in a row feels like a new start for Stone Temple Pilots, and they're clearly determined to make it count. [17 Mar 2018, p.55]

A five year pop-rock trilogy concludes in audacious style. [Sep 2011, p.52]

For every ELO-meets-Panic!-At-The-Disco pop gem that makes you think Fun. are great, there's also an Auto-Tuned-to-buggery vocal or irksome trumpet riff that simply grates. [26 May 2012, p.53]

It's a pleasant enough record, but not one that will rouse or inspire beyond Dallas' already charmed following. [12 Oct 2019, p.55]

For those who like their rock and metal to hit with swift immediacy, Take Me Back To Eden’s hour-plus runtime might prove a bit of a slog, but if you allow yourself to be fully immersed in Sleep Token’s world, the sonic rewards are plentiful.

It's an energetic debut that certainly shoes that this band is full of--as yet untapped--potential. [11 Feb 2012, p.52]

It all moves along at a slow-burning pace, rather than the usual cocky swagger. [20 May 2016, p.52]

This is a solid, talented and very decent record. But it lacks sparkle. It lacks charisma and personality. [12 Nov 2012, p.52]

All the usual COF ingredients--the abrasive vocals, the dexterous buzzsaw riffage, the furiously prop propulsive drumming--are present and correct, but here they're channeled into more streamlined songs while the more melodic elements are often pushed to the fore. [23 Oct 2010, p.50]

While it isn't Bullet's best album, it's certainly their most mature and interesting effort to date. [2 Feb 2013, p.52]

As usual, Attack Attack! will polarize opinion but artistically and technically, this is a serious step up. [14 Jan 2012, p.52]

It's a collection of suitably mixed results, but Fall Out Boy should be applauded for continuing to do whatever the hell they feel like. [7 Nov 2015, p.52]

The Verge is the sound of a band trying far too hard to hit the mark--and falling short as a direct result of that. [2 Jul 2011, p.52]

With its obvious choruses and routine abrasive sections,, the more discerning ear will recognize that this band wield far more force than they do finesse. [29 Oct 2011, p.52]

They've not skipped a beat, picking up where they left off. [30 Jun 2012, p.54]

So while it's a typically polished affair, it is by no means lacking in genuine emotion. [4 Sep 2010, p.51]

The result is a treat for diehard fans only and entirely dispensable for anyone else. [12 Nov 2011, p.54]

It beautifully illustrates that bigness isn't always about loudness. [9 Mar 2013, p.52]

The bad news for Disturbed fans, and unsurprising news for their detractors, is that Divisive is an average record. Hearing the first three tracks – opening single Hey You, the leaden Bad Man, and the forgettable title-track – one hopes they’re mere aberrations and that the quality high-octane arena fodder will arrive imminently. Alas, it never does.

Perhaps it's too monochrome, too arty. [28 Apr 2012, p.52]

As much of Go Now And Live proves, these days they've embraced a more mainstream, hook-fuelled sensibility. It's one that works well, but there are problems. [23 Apr 2011, p.50]

Slave To The Game shows that they've made no attempt to advance from the tedious, well-worn and weary chug, breakdown and death growl routine. [14 Apr 2012, p.54]

This is eclectic stuff. [16 Feb 2013, p.51]

As ever, the line between sincerity and mawkishness is down to the ear of the beholder, but maturity is creeping into Beach Slang’s songs of eternal punk rock youth, and here their bleeding heart is in the right place.

Some of the more rap-heavy moments are terrible, but when they throw in huge, guitar-laden choruses such as on Been To Hell and Hear Me Now, they hit the same anthemic heights as Linkin Park. [2 Apr 2011, p.51]