The Amity Affliction's most accomplished release yet. [7 Jun 2014, p.53]

The songs stick around a little longer, the sarcasm seems tuned back a notch, and melody is the fore in lieu of flurried dashes to the finish line. [22 Jun 2013, p.52]

While it's true that their [Meat Loaf and Jim Steinman] reunion on Braver Than We Are could never change the world like Bat Out Of Hell and Bat Out Of Hell II, it is a bewilderingly brilliant album. [17 Sep 2016, p.53]

The end result is hardly jam-packed with jump scares, but there are more than enough surprises here to keep you wondering what the hell might be coming next.

The result is an EP of razor-sharp, barrel-chested, muscular pop-punk that no-one--repeat: no-one--does better. [9 Aug 2014, p.54]

It jabs with style, and demonstrates that, far from running out of ideas, this band remain intent on staying at the cutting edge of modern British rock.

If this is, indeed, the end, it’s a wonderful and profound way with which to say goodbye. It would, however, be a great shame if this was the last we ever hear from Aaron West, because this is more than an album. It’s an actual life.

As a tribute, it is wonderful, but even without the terrible context in which the album has come about, Final Transmission is superb. [8 Jun 2019, p.54]

The result steers closer to accessibility than ever before, without diminishing the understated power of their strangely serene heat-haze atmospherics. [29 Jan 2011, p.54]

This is a raw, vicious and churning blast of a record. [25 Aug 2012, p.52]

It resonates as the work of a band with the chops to translate thoughtful material into a powerful and purposeful force. [1 Feb 2014, p.53]

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.

It's another masterful, kaleidoscopic trip from your favourite freaked-out uncle. [13 Oct 2018, p.55]

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

It sees SYB keeping up with US counterparts such as The Story So Far, while marking their territory as bright lights of the genre in the UK. [5 Oct 2013, p.54]

The result is one their most confident, consistent and cohesive record in 10 years. [11 Feb 2012, p.50]

This infusion of punk is quite some achievement given the album is divided into movements, yet in stripping back to a four-piece they strip away pretentiousness and inject rough-hewn power. [5 Feb 2011, p.51]

At times it feels like the band could let loose a little more, but such observations are minor quibbles when faced with a record as enjoyable as I Won’t Care How You Remember Me. An album packed with heart, soul and – despite its title — memorable songs, LP six is another gem from a band who rarely let you down.

This is Steel Panther's most deliciously dirty release yet. [22 Mar 2014, p.53]

There is nuance in the songwriting that, in discovery, has helped Slaves write good album, not just a collection of good songs. [16 May 2015, p.52]

The apocalyptic tone that hangs over much of the record is suffocating, in the best possible way. [9 Jul 2016, p.52]

What’s emerged is an exploration: of the heavenly and the primal, the savage and the beautiful, the ultimate mystery of what it actually is to be human.

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.

Its slick, sxy grooves coming over as both a stab at the mainstream and a bold reboot of their established format. [12 Jan 2019, p.55]

It's the sound of an already good band driving themselves to become greater, determined to not only maintain their impressive momentum, but also to head beyond where they've already been. [18 Jan 2014, p.52]

It might well be that The Darkness' finest moments are not behind them, after all. [30 May 2015, p.54]

A band who've proven that 21st century thrashers can give their predecessors a run for their money. [14 Apr 2012, p.54]

The push-pull between fragile piano and ruptures of psychic static is arresting, but by far Kristin’s most captivating weapon is her voice. ... It’s an awesome work of extreme beauty and brutality that will leave you speechless.