Deconstructive, deliberate and exquisitely designed, The Myth Of The Happily Ever After is the sound of a world-class band making truly world-class music. The only thing more exciting than every bar of its 11 songs is the promise of where Biffy Clyro might go next.

Blood Incantation have created a contender for death metal album of the year here.

Admirably aiming high when so many seem content to play it safe and follow the footsteps of their peers, this a wonderful rollercoaster of a record that puts Creeper way out on their own. It wears its palpable love of music and art with a glossy pride and it deserves an audience that’ll cherish and unpack its layers for a long time to come.

By trying to annihilate what's gone before and truly raise themselves higher, they've created a special record, with a depth that will still have you under its spell a decade from now. [15 Jun 2019, p.53]

Here, The Wonder Years have grown into the rarest of bands: one whose meanings accumulate between songs.... There's so, so much to hear this time around. [22 Aug 2015, p.50]

This, album number eight, is ample reward for anyone who kept the faith. [17 Jan 2015, p.53]

Wolverines is a masterclass in quality pop-punk. [15 Mar 2014, p.53]

With The Black, Asking Alexandria have made the album that they've always wanted to make. Which also happens to be the album fans have always wanted to hear. [19 Mar 2016, p.66]

Even in the scheme of one of modern rock’s most consistent and treasured back catalogues, Private Music is in the upper most tier, a record that succeeds where its predecessor didn’t quite.

Being so musically and thematically rich, GLUE will be a lot of things to a lot of people, and therefore act as an enduring monument to being young and looking ahead in a world that doesn’t always seem to have, or want, a future. This is an album that simultaneously makes you sad and glad to be alive. Treasure it. Use it.

An album that's by turns gut-wrenching, hauntingly desolate and emotionally devastating. [3 Nov 2018, p.57]

Across a stirring nine-song sprawl, they showcase enough pulsating purpose, and fresh folds of their rich Gothic influence, to prove there’s still plenty to be drawn from that deep well.

The entire effort is catchy, feel-good and quite simply, pop-punk at its finest. [12 Oct 2013, p.52]

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]

It is by turns beautiful and brash, driven and divine. [18 Mar 2017, p.50]

If life is still depicted largely as a struggle against despair, these songs nevertheless suggest that small moments of happiness can be found amongst the darkness. If the message of No Joy is ultimately one of perseverance, it’s fitting that this is an album which seems set to grant its creators a new lease of life.

Only one [band] could still sound this savage 15 albums in. [17 Jan 2015, p.53]

The result is an album which is remarkable on every level.

Words such as gorgeous, intricate, haunting, and even magnificent are easily applied across all 10 tracks here. [6 Oct 2012, p.54]

This is punk at its most multifaceted and emotional, overflowing with desire and angst.

The Liverpudlian quartet have every reason to be overloaded with strident self-belief, but the striking vibrancy and surging energy with which they translate it to these 12 tracks is utterly remarkable.

20 years since their debut, Slipknot are as bold, fearless and exhilarating as ever.

If this is, indeed, the end, it’s a wonderful and profound way with which to say goodbye. It would, however, be a great shame if this was the last we ever hear from Aaron West, because this is more than an album. It’s an actual life.

The Mindsweep is the most enjoyable album Enter Shikari have ever made. [3 Jan 2015, p.52]

Sanguivore may well be Creeper in their ultimate form, and by embracing their biggest, most bombastic sound ever, they’ve created black magic.

Swans are a feast of musical riches, and To Be Kind is kind of essential. [10 May 2014, p.54]

Impassioned and intense, packed with killer riffs, compressed, barely-controlled energy and a driving sense of momentum. [19 Oct 2019, p.53]

The heaviest moments are breathtakingly aggressive. [26 Oct 2013, p.55]