At times it feels like the band could let loose a little more, but such observations are minor quibbles when faced with a record as enjoyable as I Won’t Care How You Remember Me. An album packed with heart, soul and – despite its title — memorable songs, LP six is another gem from a band who rarely let you down.

There are some lulls, mind. Sometimes the moodiness threatens to drown the melody, and not every track earns its philosophical baggage. .... But Learning Greek is never boring. It's chaotic, clever, and just unhinged enough to charm the eyeliner off your face.

Georgia’s bass tone, not only disgustingly good, is a storytelling tool: in one instance it’s slurring and drenched in gloopy, thick fuzz, and then in other pockets it snaps awake, crunchy and computerised, but alive like a robot driven on revenge. Amy experiments with classical operatic vocal wails on opener Glory, while elsewhere her vocals become like fight talk, are enunciated with the confident cries of the Supernova era.

You Wish contains some exciting flashpoints, but it's also missing that prolonged sense of potency to draw you in further. .... Nevertheless, you can only applaud them for leaping out of the safety net of Doom Loop into a whole new world.

A (sad-hearted) joy from start to end. [17 Nov 2018, p.71]

At its best, it’s pure, soul-soothing escapism. And yet, this is only the start – as she grows, she'll evolve and mould everything she’s absorbed into an even more individual sound.

Think Jimmy eat World's last two albums and you'll get the general gist; an aching yet catchy anti-pop that tugs at the heartstrings while simultaneously making you want to dance. [12 Mar 2011, p.52]

Songs For Singles has a throwaway feel, albeit one with a lot of juddering, earth-shaking weight behind it. [25 Sep 2010, p.52]

Katakana builds from scratchy verses to a drilling riff, Missile Command boasts an undulating Sergio Vega bassline par excellence and album closer Rodan summons an oversized riff worthy of its kaiju namesake. Yet so often it’s the little surprises, the achingly cool flourishes, that impress here.

The band sound as good as they ever have, hitting the pace they set with 2005 debut, Black Thunder. [12 Oct 2013, p.51]

The Physical world is a perfect storm of groovy punk. [13 Sep 2014, p.54]

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

it is a wonderful thing to hear Weezer still actually sounding like Weezer here. That they’ve achieved this while pushing their creative boundaries with an orchestra only underlines it. And the best part is, when the time is right and we go back to stadiums again, they’ve still got what promises to be the perfect album to celebrate with left in the chamber.

This is an AC/DC record as lusty as they come. [22 Nov 2014, p.50]

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

Taken as a whole, it’s the hardest and heaviest album they’ve ever made, and across its 10 tracks, it’s also Sum 41 at their most creative and willing to explore their frontiers.

A truly riveting record from explosive start to crushing finish. [9 Jul 2011, p.52]

With late Love, Oslo's Wolves like is have delivered a catchy, heartfelt racket driven by throbbing grooves and drenched in ringing guitars. [18 Jun 2011, p.52]

It's diverting stuff, even for those who don't have even the vaguest idea of the plot. [29 Sep 2018, p.55]

Their sixth album finds them stepping into a world where bands like PVRIS have started to occupy a similar space to Shirley Manson and co. It's only made Garbage themselves better. [11 Jun 2016, p.53]

With its warm production and perfect pacing The Dissent Of Man is a fitting way to celebrate this band's 30th birthday, and their continued, even elevated, relevance. [18 Sep 2010, p.56]

To nobody’s surprise, the ten pieces premiered on this third instalment often pulse with the sort of ominous keyboard patterns that’ll have you checking over your shoulder for masked serial killers or vengeful sailor ghosts.

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 11-song set is a good deal of fun to listen to. [14 Jan 2012, p.50]

A dozen svelte and self-assured songs that are ear-catching in terms of being both highly accessible while being imaginatively arranged. [3 Dec 2016, p.53]

The Mutt’s Nuts is the absolute dog’s bollocks, and well worth a sniff.

It’s a fun-packed, good-time brew, and if you’re looking to beat the January blues, Hurry Up And Wait’s party-starting fever is perfect.

It is music that asks for patience n an impatient age. [10 Oct 2015, p.52]

The downside is some songs stop and start abruptly, all dusted with Weiss' preferred up-and-down vocal melody. [2 Nov 2013, p.54]

This is not a giant sonic leap from her day job. Where it differs, though, is in the breadth and feel of the material. ... Lyrically, Laura is on blistering form. [10 Nov 2018, p.54]

In the larger context of the lack of musical progression and creative imagination, the inertia that is Off!'s modus operandi is nothing less than depressing. [5 May 3012, p.53]

Like all good follow-ups, this album retains the qualities you loved about the first installment. [2 Feb 2013, p.54]

If your taste in music runs to bands that are very much one of a kind then this odd and oddly loveable album might well be to your liking. [Sep 2011, p.52]

As with all of Bad Religion's albums, True North is music played in glorious technicolour. [12 Jan 2013, p.53]

Dead Set On Living is raw, visceral and an antidote to the glossy sounds and polished looks that abound right now. [114 2012, p.52]

[The diversity of genres] proves a welcome alternative to COTV's more genre-bound contemporaries,e even if the furious freneticism of grind anchors their sound with a clear sense of identity. [16 Mar 2013, p.55]

They've taken a long sidestep from Sabbath's alter.... One that sets them up to be able to go literally anywhere from here. [22 Aug 2015, p.52]

It's a voyage down the rabbit hole, and in there nothing is what it seems. [29 Sep 2018, p.55]

This is smart, sexy and it rocks like a wild thing. When the Future Dust settles, The Amazons might just stand as a band worth all the hype and more.

Some will inevitably hold every Public Enemy album up against their ironclad classics like Fear Of A Black Planet and It Takes A Nation Of Millions, but to compare What You Gonna Do… to these untoppable milestones is to miss the point. What matters is that PE are not only still going after all this time, but still making music that matters.

So while this is a familiar, albeit more polished ride, it’s replete with beautiful moments, such as Black Crown and Gold Long Gone, that stay with you and work on you; it’s music that lovingly infiltrates hearts and minds rather than bludgeoning you over the head with its message.

The only letdown is a cover of Dead Or Alive’s YOU SPIN ME ROUND (Like A Record), where for all of Thomas’ squalling riff work, it’s obviously just there as padding as it doesn’t quite fit in, and Franz Ferdinand’s Alex Kapranos performs as if it’s mere karaoke. Other than that, Thomas has masterminded a very solid collection of songs and though they’re not stretching rock ‘n’ roll to entirely new dimensions, they offer a tantalising glimpse into who this man is when he’s not a cog in a bigger machine.

The most diverse collection of music NOTHING have yet compiled. never come never morning and the string-assisted purple strings are imbued with a warm sense of intimacy, while the rain don’t care introduces a subtle country twang to the band’s signature shoegaze.

They are creative and explorative, restless and even daring. For the most part, though, these days they're also not that good. [Sep 2011, p.50]

Jack White is a man you can depend on for a dirty groove and a greasy riff. Which he serves up amply here. [26 Sep 2015, p.53]

It’s an exhibition of just what a simply, fundamentally good band Foo Fighters are, and how skilled with a tune and a melody Dave Grohl is. You couldn’t call it stripped back as such, but its less hectic nature throws things into slightly sharper focus.

Throughout, NIN strike a masterful balance between drilling industrial assaults and eerie ambience. [14 Jan 2017, p.52]

This is a album that sees the band right back to their best. [21 Jan 2012, p.53]

Mr Wilson has travelled all over the musical map, but appears to be more direct in wanting bigger results this time around. Is it better than what he’s done before as a result? Not always, but it’s the next blockbusting step from an artist who’s always done things on his own sonically strange terms.

With Teeth Dreams' measured and sometimes elongated songs, ideas both lyrical and musical are given room to breathe and to reach their fullest potential. [12 Apr 2014, p.53]

The album sprawls between ferocity, relentless rhythms, and sombre moments. [19 Oct 2013, p.54]

This continues to be the same DragonForce you either love or laugh at, but on The Power Within they've honed their sound to absolute perfection. [14 Apr 2012, p.53]

The second storey of The House Of Bones story, is as excellent as its predecessor. [30 Mar 2013, p.53]

It's all business as usual for Exodus, but business is still good. [11 Oct 2014, p.53]

It's claustrophobic and uneasy. [9 May 2015, p.53]

Occasionally songs hand around a little too long, but all the bruises Black Breath leave linger in the best kind of way. [10 Oct 2015, p.41]

The sound of a band who are wide awake again, not just finding their feet, but coming out confidently swinging. [29 Sep 2018, p.53]

Burials is an album that finds darkness everywhere. [19 Oct 2013, p.54]

It could slot into the soundtrack of anyone’s life, it has that sort of everyman, indie movie quality. But it’s for him first, and it’s an incredibly pure distillation of who Finn is when he’s not on camera.

The result is an album that's constantly looking for new ways to kick your teeth in, reasserting Napalm Death's status as national treasures of the homegrown extreme music scene. [25 Feb 2012, p.51]

Irreverence and wilful expendability means quality control goes out the window. Denzel’s titular mischievousness and biting charisma can do a lot of heavy lifting, but with everyone from TiaCorine and A$AP Ferg (HOT ONE) to Ty Dolla $ign and Juicy J (COLE PIMP) piling in, it’s a turbulent flow. Fortunately, flashes of genius keep shining through.

Brilliant, Melvins, brilliant. [18 Oct 2014, p.54]

The resulting shift in sound not only suits Lemuria, it sets them apart from the indie pack. [15 Jun 2013, p.54]

These four pieces make a case for Pelican's future being far brighter than expected. [14 Apr 2012, p.54]

They've managed to serve up complexity in a deceptively digestible manner. [10 Oct 2015, p.52]

The guitarist is so focused he has arguably delivered a stronger, more consistent collection than Slayer’s last two albums, for From Hell I Rise slays from start to finish.

An album which initially goes in hard on horrorcore lyrics, before broadening out into social reportage and geo-political comment. Along the way, there are guests galore and one piece quite unlike anything else the band have put their name to.

Command The Weather quickly becomes boring through repetition. [9 Jul 2016, p.52]

On one hand, it's hard to take seriously, but there's something disarmingly sincere about the whole thing and it's carried off with expert skill. [26 Jun 2010, p.52]

Much of Death Is the Only Mortal is notable principally for the band's skill in explosive brutality. [13 Oct 2012, p.54]

It's a continuation rather than a total rebirth, but with Reincarnate, MIW's transformation is complete. [30 Aug 2014, p.51]

If you love pop-punk in its most unadulterated, carefree form, you'll heart this. [28 Mar 2015, p.52]

When an album imbued with the spirit of heroism, the opening track has to boldly throw down the gauntlet. Job done. [15 Oct 2016, p.51]

Don't be fooled by any revivalist tosh out at the moment, this really is the real deal. [26 Mar 2011, p.52]

This is a noble and compelling body of music. [Jul 2011, p.51]

Foo Fighters like this feel fresh, energised and essential.

As we say, brilliant fun. And shot fired. [2 Apr 2016, p.50]

It's really no gamble to suggest that over 31 magical minutes, Rival Sons have delivered the finest classic rock debut of the year. [25 Jun 2011, p.52]

An album that proves that Trivium have much life in them yet. [12 Oct 2013, p.51]

It's up there with the best albums they've ever made. [11 Apr 2015, p.53]

The opener The Silver String is somewhat plodding and predictable isn't the best start, and unfortunately these are two words that can be applied with far too much frequency. [21 May 2016, p.52]

They might not be as abrasive as they once were, but Whitechapel still know how to bulldoze the opposition. [25 Jun 2016, p.52]

A grandiose and ambitious album. [5 Nov 2016, p.50]

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

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

On Cheap Trick's 17th album--and that is the most Cheap Trick title ever Cheap Trick'd--the man's ability to write sugar-coated riffs that stick in your head as though made of golden syrup has not diminished. [2 Apr 2016, p.53]

One of the most hard-hitting records of the year. [30 Aug 2014, p.52]

All songs were recorded in one take, no editing, no bullshit, and the album simply seethes with this urgent rawness. [5 Apr 2014, p.53]

At 72 minutes, it's quite the voyage--but please, don't remain in your seat at all times. [6 Oct 2012, p.53]

A record that contains a number of inspiring moments, but, on the whole, Another Day doesn't quite assert itself in the context of their back catalogue.

It's a little one-dimensional in places, but there's no denying the strength of feeling raging underneath. [3 Nov 2012, p.53]

The lyrics, of course, are predominantly berserk. It wouldn't be a Rob Zombie album if he was to get all sensible on us, and it's fun picking through them. In fact, 'fun' is perhaps the best word for the record, which is a riot from start to finish.

This is the record that brands SWS as a very big deal indeed. [7 Mar 2015, p.52]

It's simply heavy metal: proud, fearless, loud. [19 Jul 2014, p.52]

While lyrically there's nothing explicitly offensive, there are enough risque lines here to raise a few eyebrows, and enough good songs to prick a few ears. [28 Aug 2010, p.54]

While there is nothing to rival the classic Step Down, it's hard to argue with the punch SOIA still pack. [4 Oct 2014, p.54]

Their 11th album, is a heaving smorgasbord of all those [quality meaty metal] sounds. [30 Jan 2016, p.52]

This is a brave, bold and ambitious album, and the finest of Lower Than Atlantis' career so far. [4 Feb 2017, p.50]