Bangers like Die By The Sword and Hole In The Head share not only the four syllable song titles of the Balls To The Wall/Fast As A Shark Days; they're chock-full of those classics' runaway riffage, searing solos and tooth-cracking attitude, too. [5 Aug 2017, p.52]

A deliberate and delightful mess of punk and rock'n'roll out to deliver a black eye, Master Volume ends with the almost beautiful strains of Evil Side which buzz with an infectious, if troubled, vitality. But rather than falling apart, The Dirty Nil are simply solid. [15 Sep 2018, p.55]

Much of the album is minimalist in its approach, allowing Jonas Renkse’s vocals to guide the way against a kaleidoscopic soundscape of soft melodies that feel almost ethereal.

Just as Failure love to keep you on the edge of your seat musically, they also keep you guessing with their lyrics. Confounding, absorbing lines are stockpiled everywhere.

It's initially odd that the songs lack the immediacy the band are known for, but once the new-found intricacies reveal themselves and the lengthier structures click, the pay-off is huge. [8 Oct 2016, p.52]

Standards is a total success. [30 Apr 2016, p.68]

Here you're thrilled by how refreshingly streamlined these songs are from the off. [20 Jan 2018, p.50]

The music itself is minimalist, but still manages to conjure an intense darkness, aided by the haunting drawl of guitarist Reid Bateh. [15 Feb 2020, p.55]

Neither Boris nor Merzbow are particularly known for their music being concise, and of course this opus is no exception — clocking in at almost 90 minutes it takes its sweet time making its point. This isn’t necessarily a bad thing, as they unhurriedly pick apart their previous material it provides fresh perspective and an opportunity to rediscover.

The results equates to a highly original sound that tends to be loved by blokes and blokes only. [12 Nov 2011, p.53]

It's been a hell of a ride, one where the journey is just as much fun as reaching the journey. [12 Mar 2016, p.51]

It's a fuzzed-out, heavy-arsed, thoroughly soulful blast of glorious rock thunder that salutes the past with one arm, while bringing in an ultra-cool identity of Rival Sons' own with the other. [9 Feb 2019, p.55]

This is an album full of stirring, stadium-sized melodies. [2 Feb 2013, p.53]

It perhaps didn’t have to be so lengthy, especially when it’s made dense by a surplus of delicate ballads that sound just a tad too similar. However, its concept, eloquence and even just its sheer emotional weight all serve to make this record special nonetheless, both for its quality and as a document of Halsey’s survival.

Taken on its own merits, this is still a stunning album from a band operating at the peak of their powers. [18 May 2013, p.52]

As far as sludgy, frenzied noise rock is concerned, there are few who do it better than Melvins, and Working With God is tangible proof.

There are few surprises on Beast but it is another superbly realised slab of dynamically raging noise. [12 Feb 2011, p.50]

Violence Unimagined sounds exactly as you imagine it will, but still surprises in just how much Cannibal Corpse have left in the tank.

It's a deceptively simple formula, but one that Torche continue to twist into intriguing and utterly addictive shapes. [31 Jan 2015, p.54]

This is surely one of the year’s most important records.

Anyone who remembers Mike covering Italian pop songs from yesteryear ion his 2010 album Mondo Cane will know, strictly speaking, a few of his recent projects have sounded more interesting than they have incredible. Thankfully, Oddfellows is both. [2 Feb 2013, p.54]

Shame is a weighty slab of industrial punk that is effectively the soundtrack to a tortured soul mentally coming apart. Reinventing a core element of themselves, Uniform present a side they have previously kept boiling angrily under a darkened surface.

The Sleeping have finally shaken off the emo scene shackles and explored their personal sonic palettes. [02 Oct 2010, p.52]

Songs like She and the superb On The Wings Of Gloria reek of patchouli and incense, their warm sounds bring F's satanic lyrics colourfully to life. [3 Dec 2012, p.52]

Disarm The Descent is an overdue return, a prodigal son story and their best album since The End Of Heartache. [6 Apr 2013, p.53]

This is an excellent ensemble of songs. [30 Aug 2014, p.50]

For an album about broken faith, this should convert a lot of new listeners. [29 Aug 2015, p.52]

A welcome and overdue return. [18 May 2019, p.55]