Surging with reckless punk spirit and swooning romanticism, there's no fear of Beach Slang losing momentum after break-up rumours earlier this year. You might consider the album title ironic since the trio are far on the other side of 19, but perhaps that's its beauty. [24 Sep 2016, p.52]

It’s music for the loveliest of golden summer evenings, but has a greater depth to it that reveals itself with more and more listens, as if it’s coming out of its own shell. And when it does, it’s nothing but wonderful.

Eccentric in all the right ways, No Home Record is just poppy enough to be accessible, yet edgy enough to satisfy even the pickiest of old school noise-rock fans. [12 Oct 2019, p.55]

Like a poison ice cream, MCS are once again delicious, but deadly. [26 Sep 2015, p.52]

Every note and drumbeat speaks of friends enjoying the freedom to do whatever they damn well want, in the company of musicians and composers whose talents bring out the best in each other. Even amongst such impressive back catalogues, Killer Be Killed have crafted a record which absolutely destroys in its own right.

Each of their previous three albums have proven invigorating examples of their punishing aesthetic, but Atlas Vending finds them pushing things forward, broadening their horizons to tremendous effect.

Leaps and bounds ahead of their excellent M debut, Mareridt is ambitious, accomplished, and beautifully ugly. [16 Sep 2017, p.53]

This is a brilliant mix of heaviness and The Wicker Man-esque oddness. [25 May 2013, p.54]

The confidence with which these 10 tracks are delivered is proof this is just the beginning. There’s some growing up to be done, but right now, The Linda Lindas are revelling in the joys of youth, and it sounds great.

With overwhelming heaviness tempered by blues and gospel vibes, this enthralling comeback soothes the soul even as Goatsnake crush your ears. [13 Jun 2015, p.52]

The end result is not only an album that will delight diehard Tom DeLonge fans, but one that lovers of anthemic and occasionally experimental alt.rock will enjoy too.

Nails have delivered one of the most savage and head-spinning albums of the year so far. [6 Apr 2013, p.53]

As ever, The Wonder Years remain the best in their class. They remain as musically smart, emotionally intelligent, and reassuringly bullshit-free as ever.

It's as vast and cosmic as the title suggests. [14 Jun 2014, p.54]

It can be no surprise that the group's second effort in this style is a triumph of both authenticity and quality, of fine songs and tasteful playing. [3 Sep 2011, p.51]

A sonic gem that's both immediate and visceral in its delivery, as well as remaining a genuinely exciting prospect. [25 Aug 2012, p.54]

Sounding like every member of the band is determined to be the loudest and most aggressive mothertrucker on Earth, this is all-out war. [23 Feb 2013, p.52]

It may not appeal beyond their current fanbase, but it cements The Story So Far's position near the front of the pop-punk pack. [16 May 2015, p.53]

A surprisingly coherent batch of soured psychedelia. [3 Oct 2015, p.52]

In the resultant dizzying whirl of kaleidoscopic guitars and life moving at 100 miles a minute, Culture Abuse sound right at home. [16 Jun 2018, p.58]

It broadens and deepens the story that began with that album [Sex, Death & The Infinite Void], acting as a requiem to the alien character of Roe. ... It’s simply eight tracks of lovely, rousing rock opera. Whether you’re after one, the other, or both, you’re sure to be left more than satisfied.

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

Sixteen albums in, that they continue to surprise and create as much as they do is to be celebrated on its own. That it represents their best work in a decade is the triumph of a genuinely magnificent band.

Silver Age is a fun ride, then, but it won't warrant racing back for any tine soon. [6 Oct 2012, p.53]

There’s nothing on here quite as catchy as Tiny from Give A Glimpse Of What Yer Not, but that may well be because this is a more consistent effort, an album full of highlights that reminds us that being ​‘lovely’ and ​‘loud’ aren’t mutually exclusive qualities, while furthering one of the most consistent catalogues in rock.

A record packed with starry-eyed guitars, almost as if they were being beamed back down from the International Space Station. [24 Sep 2016, p.53]

Halsey’s If I Can’t Have Love, I Want Power is an album best served whole. Sure, it’s packing some infectious, radio-ready choruses, but there is so much more to unpack, with each listen peeling back layers of heartache but also dexterity and adventure, and much-needed sense of danger that their peers are lacking.

This time out, there is greater maturity in every note. Bea’s trademark indie-folk stylings haven’t been left behind. If anything, they eclipse her grungier tendencies this time out. But on songs like the outstanding Ever Seen and Tie My Shoes there’s less lo-fi fragility and more a strident, sunbeaten warmth akin to peak Phoebe Bridgers or even latter-day Tay Tay herself.