No Obligation documents the result of resilience and hard work, and makes for a listen that’s enjoyable regardless of musical preference or taste.

This is an album that’s compelling and will leave you hanging onto your headphones to see what’s coming next.

Musically, TANGK finds IDLES’ style rejuvenated, with drum patterns drawing from soul, techno and hip hop. The sparse beats and ominous background hums of POP POP POP are reminiscent of Radiohead’s Kid A.

Expect this to crop up on more than a few album-of-the-year lists. [4 Jun 2016, p.52]

This one is a masterclass in delivering musical precision with an undercarriage of scuzz and tension. The likes of Tattoos and Days Are Dogs retain the minimalist vision that has coursed through Shellac since their earliest releases.

Though there's no radical change to his formula here, crucially, the consistent brilliance on display means there's no need for one. [4 Jun 2011, p.52]

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]

This seventh record still offers plenty for those who want an aural assault. [30 Aug 2014, p.51]

It really is impossible to pick fault with the record, every track playing its part, and further cementing their legend.

Resurrection is a powerhouse of a record, the brave onward steps of New Found Glory proving that hope--like pop-punk--is not dead. [11 Oct 2014, p.52]

Throughout, DevilDriver are taut, tight and tenacious.

it's all so brilliantly done, such a massive, shiny rush of excitement, joy and fuzzy-feelings that you can't help but love it. [14 Jun 2014, p.54]

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

They gather together the bit you might have missed to keep the good times rolling. [25 Jan 2014, p.54]

The ebb and flow keep you constantly on your toes. [8 Jun 2019, p.55]

Covering Ground is [Chuck Ragan's] third album, and once again demonstrates his versatility as a musician. [Sept 17 2011, p.51]

While this record isn’t going to lure rock purists out of their dens, it has greater ambitions in mind, and the amount it achieves in the space that it does is staggering. For any artist of any genre, this is the textbook for innovation.

Some of the best songs [Obituary] have penned, nearly 33 years after their inception. [18 Mar 2017, p.52]

This follow-up is a micro-tad more optimistic [than 2011's Several Shades Of Why]. [13 Sep 2014, p.54]

There are moments of genius here. In forging new bonds and attempting to break new ground, METAL FORTH's intentions are noble and the executions occasionally excellent.

The wonderfully titled England Keep My Bones features some of the finest songs Frank has yet written. [4 Jun 2011, p.52]

Metal may have become more extreme in Carcass' absence, but they still take 90 percent of the pack to (medical) school. [7 Sep 2013, p.51]

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

This is Earth in their purest form. ... This album is also a perfect introduction to Earth for curious neophytes. [25 May 2019, p.55]

Engine Of Hell is not only a testament to her seemingly endless talent, but an unadulterated glimpse at a human being’s soul.

Guitars buzz and chime, melodies uproot from the dirt and stand tall; the sum total being tan indefinable yet fascinating modern day rock opera that is as rewarding as it is unique. [4 Jun 2011, p.52]

Truthfulness and honesty [are] inherent throughout this fantastic record. [14 Sep 2019, p.55]

It's brilliant stuff, and proof that when it comes to enormo-doom heaviness, few do it better. Still. [5 Sep 2015, p.53]