It's an album best-judged as its monumental whole: the sound of endless possibilities. [18 Jun 2016, p.52]

For all the record's big riffs and bravado, there's plenty regarding matters of the heart, from the heart. [10 Sep 2016, p.50]

The Ocala quintet's heaviest record since 2007's For Those Who Have Heart. [27 Aug 2016, p.50

Impressions is thrumming with big ideas, bigger choruses and is imbued with the pearly wisdom learned from rolling with life's punches. [4 Mar 2017, p.53]

Like the very youth it seems to be chronicling, Learning How To Live And Let Go flies by in a blur, blindsiding with the contemplative poignancy of arms-round-shoulders closer It Ain’t Easy.

A satisfying, feisty record made for blasting loud enough to annoy the neighbours, and for partying the existential dread away. This band’s not cooling down anytime soon.

Grown men revisiting their youthful hijinks should be a terrible idea or, to borrow an FNM title, a midlife crisis. Instead, this record is an absolute rager, testament to both the original material and the present-day dedication of its lunatic creators.

Fever Hunting finds MLIW back at their best. [31 Aug 2013, p.53]

All that you take in is that Gore is Deftones being Good Deftones. [9 Apr 2016, p.50]

It feels like tectonic plates have shifted for the band with The Ghost Of Orion, ushering in the dawn of a new era for My Dying Bride.

Rest assure, few bands combine hilarity and ferocity as well as Future Of The Left. [9 Jun 2012, p.54]

It's a lean, mean metallic assault from a band who only seem to get better with age. [11 Aug 2012, p.53]

This is what it sounds like when Poppy is properly in her element. When she’s got something that lights her on fire, she’s unstoppable, and this is how she’s been able to write possibly her best songs yet.

Those looking for the conventional will find it, relatively speaking, in the sparseness of When Will I Return?, while the near-29-minute title-track--like the album it's housed on--is both a journey and a total trip. [25 Jun 2016, p.53]

All Them Witches have conjured fresh landmarks all their own. [18 Feb 2017, p.52]

It's bigger, louder and better in almost every department. [28 Jul 2018, p.53]

Some of the year's catchiest most accessible alt. pop tunes of the year speaks volumes of the level upon which they're operating here. [13 Oct 2018, p.54]

Lamb Of God are not the band they once were. Those were the sounds of then. This is the now.

Behind every good DIY punk outfit, there's some smart songwriting in place. Boston;s Pile prove this and more here on their fourth full-length. [7 Mar 2015, p.53]

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

Good, old-fashioned raging against the machine has rarely sounded better. [1 Feb 2014, p.55]

life Cycle is the sound of [their] potential exploding into being. [30 Jun 2012, p.54]

There's nothing pleasant about this in any way, shape or form, basically. Yeah, Dead In The Dirt are that good. [10 Aug 2013, p.54]

Impressive act of defiance or not, when the dust has settled, this will also be rightly remembered as simply a great album. [19 Oct 2013, p.52]

Sometimes angry, regularly ferocious, occasionally beautiful. [8 Oct 2016, p.53]

A set of excellent songs. It’s a cohesive, largely understated collection, too.

The template is similar to that of their youngest selves. The knockout rock and roll riffs of guitarist Billy Zoom almost shrug at the lyrical company they’re required to keep.

An epic adventure that is, in every single way, truly astonishing indeed. [16 Jan 2016, p.51]