The brutal death metal contained within isn't much nicer [than the cover art], a savage blow to basically anyone who's ever dared draw breath. [1 Aug 2015, p.52]

I Loved You At Your Darkest offers conclusive proof that their Satanic majesty remains intact, even as they embark on their most ambitious artistic expression to date. [6 Oct 2018, p.53]

Expertly produced by Jason Perry and with not an ounce of fat on its bones, this is an album that manages to be often very good indeed, if not quite great. [2 Apr 201, p.50]

Urth captivates throughout. [15 Aug 2015, p.52]

Vocal contributions from a slew of guests keep things unpredictable on a set which often feels like a multi-genre playlist. ... Time spent getting your head around this craziness is time well spent. [6 Oct 2018, p.55]

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.

Musical joie de vivre courses through Dos!, along with enough variety to ensure this is more than just, um, Uno! Part 2. [10 Nov 2012, p.52]

No Gods No Masters is one of the coolest, most vital releases of 2021, let alone one by a band some 30 years and seven albums into their career. Listen and learn.

This is raw, loud and obscenely good. [6 Oct 2018, p.55]

This incarnation of Fear Factory is bowing out with a tense, aggressive and satisfying final act. There are exactly zero signs of them adopting fresh approaches, but dissing them for this is like criticising chocolate for continuing to taste chocolatey.

This reminds us how life-affirming their music can still be. [6 Aug 2016, p.53]

Rise Of The Lion sees the five-piece mature from angsty teens into a fierce, majestic beast. [10 May 2014, p.53]

What is surprising, however, is how deep into gloom Dark Superstition dives, and the subtlety with which its cocktail of abyssal heaviness and velvety melody works its way under the skin.

For every comparison you can make of individual moments, there is little here that you can honestly say you’ve heard before, and little that can be judged on traditional terms. But that’s what makes her such a fascinating force.

This may be the most punk record of 2017: possessing brains, balls and bags of tunes. [4 Feb 2017, p.51]

Done largely live in the studio, together, looking at each other, the already taut LOG energy thrusts even harder.

Chelsea Light Moving's debut is fantastic. [2 Mar 2013, p.51]

It’s an intelligent, thrilling and likeable record from one of the most exciting bands in British punk.

For Thrice fans, Horizons/East is another strident step forward from one of post-hardcore’s definitive outfits. For listeners at one of life’s soul-stretching crossroads, though, it could serve as so much more.

The tense atmospheres and '80s-strength songwriting neutralise the ever-present threat of lapsing into pastiche. [30 Nov 2013, p.53]

Alpha and Rainbow Gravity are the sound of a band in complete control of their sonic destiny, reining in those djenty riffs for more cinematic musings that quickly unravel into modern metal anthems. [17 Jan 2015, p.54]

Lovers of folk rock take note: Arbouretum are likely to be a deserving early entry in your best of 2013 list. [19 Jan 2013, p.54]

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

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

If the music The men are making is punk, it's rarely sounded so awesome. [2 Mar 2013, p.51]

It's a great thrash record, not the jokey novelty of the genre's boom, as stainless, hard-edged. aggressive metal album that would be just as deadly were it from 2011, or 1986. [24 Sep 2011, p.51]

Sacrificing none of that trademark musicianship, this is Dream Theater at their most accessible, and they lose nothing for it. [23 Feb 2019, p.55]

A mature, provocative and at times genuinely beautiful piece of work. [1 Apr 2017, p.50]