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]

Time Will Die is a hugely satisfying listen, with the longer songs in particular allowing the band free rein to indulge every experimental urge. ... This album sounds like a multi-part epic made up entirely of multi-part epics. And also, undoubtedly, like a career high. [3 Mar 2018, p.50]

It's absurd, OTT stuff. But who wants anything else from Andrew W.K. [24 Feb 2018, p.51]

Already legends, American Nightmare's iconic reputation should only be enhanced by this mighty return. [17 Feb 2018, p.52]

Wait for Love sees them largely sticking with what worked last time. [24 Feb 2018, p.51]

With Time & Space they've made a record that will blow minds as surely as it will elevate them from beyond an emboldened, resurgent and vital scene. [24 Feb 2018, p.50]

A largely drab album. [10 Feb 2018, p.51]

It's 14 tracks of craziness to be embraced and shouted at the rafters. [10 Feb 2018, p.50]

The pairing makes more and more sense everytime you listen to it, perfectly rounding off 37 minutes of bubbling, stoned fuzz. [3 Feb 2018, p.52]

Epic, bonkers album. [3 Feb 2018, p.51]

Light and breezy strummer Her majesty's Service occasionally reads like a string of Fallon-isms (rolling stones, a girl named Elsie, etc.), but it's blown away by the hulking brass of Sleepwalkers, which straddles the line between grandness and outrageousness perfectly. [10 Feb 2018, p.52]

Scattershot. [20 Jan 2018, p.53]

You won't realise you've been possessed til it's too late. [20 Jan 2018, p.52]

Fantastic album. [27 Jan 2018, p.51]

They're strutting along a tightrope without a downward glance here. [27 Jan 2018, p.50]

Here you're thrilled by how refreshingly streamlined these songs are from the off. [20 Jan 2018, p.50]

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

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]

It's simple stuff, but it's as powerful and unstoppable as an avalanche. [6 Jan 2018, p.54]

Danny's back where he belongs, and Asking Alexandria have returned with their boldest record yet. [2 Dec 2017, p.49]

This young band sound so eerily similar Led Zeppelin, you wish they'd back off a little. [25 Nov 2017, p.52]

It's a record that ignores its own decade-long mystique to work on being important on its own merit, through dazzling songcraft and the band's unrivaled ability to pull brightness from the most freakish and inharmonious junctures. [9 Dec 2017, p.51]

From the embryonic ideas to the songs' live debuts, it's the ultimate insight into the birth of a world-conquering classic. [11 Nov 2017, p.52]

An album that once again sees Wizard creating a new landscape with only the slightest adjustment. Yeah, it's more rock'n'roll, but it's still ultra-stoned, it's still ultra-heavy, and Electric Wizard still hate[s] you. [25 Nov 2017, p.51]

It frequently feels like one of those remix albums where tinkering guests have tried too hard to put their own stamp on proceedings, resulting in curios that are momentarily interesting, but will never replace the established versions in your affections on your playlists. [11 Nov 2017, p.50]

Propelled by Sergio Vega's springy bass, Walter Schreifels' effortless instantly recognisable vocal floats over everything. [11 Nov 2017, p.51]

It's radiant, bold and frequently brilliant. [4 Nov 2017, p.53]

Five years since the release of All We Love We Leave Behind, you could argue this is more of the same and just another Converge album. Pitted against the best of the band's catalogue, though, this one holds its own. [4 Nov 2017, p.50]

The Canyon showcases a consistent and powerful synergy between strong songwriting, potent subject matter, and eclectic musicianship that proves The Used continue to grow as people and as a band 15 years into their career. [28 Oct 2017, p.50]

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]

The results are much as you'd expect, with crazy lyrics and the occasional brilliant riff. [21 Oct 2017, p.52]

While Shapeshifter isn't a complete transformation, it is a confident and relatable expedition through adolescence. [14 Oct 2017, p.53]

[The] band's most atmospheric music to date. [14 Oct 2017, p.52]

Heaven Upside Down betters that record [2015's The Pale Emperor]. [14 Oct 2017, p.50]

It's a beast from start to finish. [7 Oct 2017, p.52]

A riveting convergence point for 14 years of expert graft. [7 Oct 2017, p.52]

Truly, Chelsea Wolfe has hit upon something very heavy here--something that'll haunt your nightmares long after it ends. [7 Oct 2017, p.53]

In their own way The Darkness, enthusiastically blending banter and bombast in equal measure, are proving as much fun [as Queen]. [7 Oct 2017, p.51]

Immediate heaviosity is in short supply, but Cold dark Place instead offers plenty of alternate impact. [30 Sep 2017, p.52]

Sure, the songs sound unique to SWS because of their singer's inimitable voice, but several of the tracks are reminiscent of other artists. [23 Sep 2017, p.50]

The eclectic sounds of Wolf Alice's debut made them stars, but this sequel finds them doing everything bigger and better. [2 Sep 2017, p.51]

An album without any clear standout or breakaway tracks. [23 Sep 2017, p.52]

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

The Spark is very much a record for 2017. [16 Sep 2017, p.50]

Cradle Of Filth have created a gothic horror that makes Mary Shelley's Frankenstein look like The Emoji Movie. [23 Sep 2017, p.52]

Escalator Teeth, meanwhile, is another short, stabbing moment of clarity. The rest is largely exhilarating and occasionally meandering. More of the same, then, which is entirely the point. [23 Sep 2017, p.52]

Leaps and bounds ahead of their excellent M debut, Mareridt is ambitious, accomplished, and beautifully ugly. [16 Sep 2017, p.53]

Despite being recorded at various times between 1992 and 2015 the 11 tracks here gel together like any other Motorhead album. [2 Sep 2017, p.52]

While pulling no punches in discussing anxiety or uncertainty, their sparky indie punk still evokes sunny days and exhilarating nights. [16 Sep 2017, p.52]

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

An outfit possessed of a murderous groove. [9 Sep 2017, p.51]

If you're expecting an album full of immediate anthems like Monkey Wrench and All My Life, dig out their Greatest Hits. Otherwise, bask in this hour of masterful '70s-flavoured jams. [9 Sep 2017, p.50]

A little piece of heaven indeed. [26 Aug 2017, p.48]

These are great songs. And this doesn't sound like a band with no road left to walk down. [26 Aug 2017, p.50]

Bangers like Die By The Sword and Hole In The Head share not only the four syllable song titles of the Balls To The Wall/Fast As A Shark Days; they're chock-full of those classics' runaway riffage, searing solos and tooth-cracking attitude, too. [5 Aug 2017, p.52]

Villains makes for a compelling lane change, finding the impetus to bring an interesting makeover. [12 Aug 2017, p.50]

An album that might not test the limits of artistry, but as with this closing track [Window], leaves you with a fuzzy feeling. [5 Aug 2017, p.51]

Nine years in the making, this record heralds a bigger, catchier next gen Goldfinger. [8 Jul 2017, p.51]

...Of the Dark Light has particularly sharp fangs. [17 Jul 2017, p.52]

Single Mothers refreshingly don't care if you like them or not. So take them or leave them, but you'd be a fool to miss out. [17 Jul 2017, p.53]

At some point, a little experimenting may be needed, but for now this cements their status as the behemoths of British rock. [17 Jul 2017, p.50]

You'll need to sit down when it's all over, but you'll soon be right back to the start, re-embracing that darkness. [28 Jul 2017, p.48]

The best thing about Paranormal is that it sounds exactly like an Alice Cooper album. [28 Jul 2017, p.50]

Howling is full of venom, inspired by history and politics to create a dense mix of buzzsaw riffs and eerie atmospherics. [17 Jul 2017, p.52]

This is a painstakingly composed work of art--and an absolute masterpiece at that. [15 Jul 2017, p.50]

The result is a collection of undignified Pierce The Veil-lite songs that are fitted with all the bells and whistles, but absolutely none of the quality that makes that band successful. [8 Jul 2017, p.52]

Dear has generated a resurrection, or at least a strengthening of their life force; its creation inspired Boris to continue, turning what was supposed to be a goodbye into a forceful restating of this remarkable band's existence. [1 Jul 2017, p.50]

This is the release that finally sees the band hit their songwriting stride. [1 Jul 2017, p.53]

Rancid don't do anything new here, but they sound more fired-up than ever. [1 Jul 2017, p.51]

It has to be said that this is more of a nice vibe record than it is one full of great standalone songs, but when the vibe created is as utterly charming as this, that can only be a minor gripe. [1 Jul 2017, p.52]

It finds the band indulging their darkest urges, often using nothing more than noise and soundscapes. Like everything the Melvins do, however, it remains compelling, clever, and absolutely unique. [24 Jun 2017, p.53]

Hydrograd is an altogether looser, more accessible creation. [24 Jun 24, 2017, p.50]

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]

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]

A band finding new ways to be magnificent so far into their career. [10 Jun 2017, p.52]

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

There's a quivering blues element to the sludgy stomp of Whether Terrified Or Unafraid, while elsewhere they twist the lo-fi fuzz into jarring alt.rock shapes, as Josh continues to serve up the deliciously unexpected. [10 Jun 2017, p.52]

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]

Already an essential document to one of rock's most exciting periods, the heartbreaking poignancy these bonus tracks add now make it even more so. [3 Jun 2017, p.52]

You're Welcome stumbles through grating doldrums on garage-rock autopilot, with junkyard fuzz that's more crap-nasty than good-nasty. [3 Jun 2017, p.52]

More often than not, though, Rise Against let you reach your own conclusions, and therein lies the difference between merely preaching to the choir and reaching the whole congregation. [3 Jun 2017, p.50]

It's certainly an album fuelled by dissatisfaction, but it's more frantic than furious. [27 May 2017, p.52]

Several bold steps forward, while looking back over one shoulder. [27 May 2017, p.50]

It's hardly a reinvention, but it all adds to the OTT party DragonForce have been throwing for so long. [20 May 2017, p.53]

Little has changed. [8 May 2017, p.69]

An uncompromising debut--hard, nasty and the perfect sonic poison for 2017. [29 Apr 2017, p.51]

A record that's at times so flat. [13 May 2017, p.50]

The record flows effortlessly from disco to all-out rock ballad, and it ends with a stunningly atmospheric climax only they can pull off. [6 May 2017, p.52]

This is an album that sounds of box-fresh offerings foma shop-worn veteran in which everything about it suits him well. [6 May 2017, p.52]

Nakedly confessional or all dressed up, this is an album to cherish. [6 May 2017, p.51]

Across 11 tracks In•ter a•li•a never loses focus and never takes the easy options, offering fractured anthems for fractured times. [6 May 2017, p.50]

8 isn't terrible, but it is boring, which is much worse. [13 May 2017, p.51]

Ambitious and controversial, it's a creditable pass that's not perfect, but has flashes of brilliance. [29 Apr 2017, p.50]

Played at the correct volume, this will certainly threaten the structural stability of your house. [22 Apr 2017, p.52]

It's an album that bristles with hooks, crackles with power and almost overflows with passion. [22 Apr 2017, p.50]

A wonderful rewarding journey. [15 Apr 2017, p.50]

A typically obdurate outing from an always captivating contributor. [15 Apr 2017, p.52]