Aaron and mewithoutYou have authored what's possibly their best album. [25 Jul 2015, p.52]

Yet while this album rails against the world our plutocratic/oligarchic overlords have created for the rest of us, it also displays a vulnerability that’s rare in hardcore and post-hardcore.

An overwhelming addition to a back catalogue not lacking in transcendental power, Purge finds Justin channelling distress and disgust into music that hits both body and soul, creating something wonderful out of horror and pain. This really is a perfectly-titled album.

It’s perhaps not as instantaneous as the debut, as vile as Iowa or as catchy as Vol. 3, but it offers depth, discomfort and danger to those willing to dive into the recesses of The Nine’s collective consciousness.

It's vibrant and soulful, but undercut with a darkness that's hinted just enough to haunt these songs. [28 Jun 2014, p.54]

After listening to Ascent, you'll be hard-pressed to locate a better batch of mesmerising mind-expanding jams this year. [25 Aug 2012, p.54]

A superior collection from a genuinely superior group. [27 Jul 2019, p.56]

Taken individually, both NULL and VOID are brilliant albums from a collective who understand music’s role as a vessel for emotional articulacy. Put them together, and they are creatively anything but their combined title, while also somehow perfectly expressing a feeling of being both.

Despite the band stretching their boundaries wider than ever before and employing a kitchen-sink approach to experimentation, this is the most Enter Shikari sounding record the band have made to date.

Twenty One Pilots prove you don't always need guitars to have a good time. [16 May 2015, p.54]

The beauty of Puscifer is that they can be taken any way you like depending on how you look at them. It is more than enough that the music on Existential Reckoning is superb. But should you attempt to get under the skin and solve the puzzles within, there are vast riches to be had.

While not quite the box of delights Garbage shook at us last time, there’s persistent allure in the mating of cavernous soundscapes with Shirley’s penetratingly icy vocals.

It’s Pearl Jam’s most incensed album since 2006. It’s their most musically inventive since 1998. And, by virtue of its themes, it is their most gravely needed of their entire career. It is, in short, a triumph.

Amid all the feedback and echoes here, there's something wonderfully ominous about Locrain's music. [29 Jun 2013, p.54]

The fiery swagger and coursing vitriol of these, Jonathan's final recordings, now stand as monuments. [23 Jan 2016, p.52]

A band finding new ways to be magnificent so far into their career. [10 Jun 2017, p.52]

As a QOTSA album, In Times New Roman… is dark and disorientating; for Joshua Homme, it feels like a wholly necessary outpouring of creative catharsis.

Foxing, however, just keep getting better. Who knows what they’ll sound like by the time the next emo reboot kicks in. But, for now, Draw Down The Moon makes them a champion in their own field.

A strange, unruly offering. The momentous, squalling dissonance of the curtain-raising Reducer seems to signpost where they’re going, but then they spin off into a twisted, eight-track labyrinth.

This is a painstakingly composed work of art--and an absolute masterpiece at that. [15 Jul 2017, p.50]

Depth, emotion and spirit seem to infuse everything. [20 Oct 2012, p.52]

What YONAKA have made here is one of 2019’s best breakthrough rock albums. Put simply, Don’t Wait ‘Til Tomorrow is the birth of a new band of rock stars. [25 may 2019, p.54]

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

Calm and collected when it needs to be but by no means lacking in heart and passion, this album is a fine collection of songs by an artist intent on forging her own path.

Japandroids' ability to move the listener remains as powerful as ever. [4 Feb 2017, p.51]

Ultimately, though, Krüller is best experienced not in its individual segments but as an overwhelming whole. The meld of muscle and mechanisation still demands that listeners hand themselves over entirely. So stay plugged in through the epic title-track’s spiral down into an inevitable acid ending and you’ll be haunted by the ghosts in this machine.

The record flows effortlessly from disco to all-out rock ballad, and it ends with a stunningly atmospheric climax only they can pull off. [6 May 2017, p.52]

This is not a time-weathered, diluted imitation of Faith No More. This, ladies and gents, is still "The Real Thing." [9 May 2015, p.52]