There's no fat. Here in abundance is evidence of Billy's enduring genius. [13 Dec 2014, p.52]

Shelter is the first great album of 2014. [18 Jan 2014, p.52]

All that you take in is that Gore is Deftones being Good Deftones. [9 Apr 2016, p.50]

Here, nine of the 12 songs are Greg’s, and much of the album revels in his wistful romanticism as a result. ... Not that Hello Exile sits around navel-gazing. The Tom-led Last To Know is a seething rocker, and the just-audible off-mic yell before the guitar solo showcases a band as exuberant as ever, even as Joe Godino’s beats hammer down like a hangover.

This is a record that plays like Eddie’s soul is plugged directly into a jukebox skipping through different eras of music history.

Amends is a portrait of the artist as a young man, offering fans the chance to time travel and spend time with an old friend. It’s also the origin of Chester Bennington as a musician and is therefore an essential, rewarding and emotional listening for anyone who is a fan of his work.

Country-fuelled it may be, rather than the expected full-pelt rock, but so open is this letter that it easily succeeds in transcending genres. [1 Jun 2019, p.53]

Anyone who savours battered tunes and growling basslines in general will enjoy this trip through Drug Church's howled at, fractured world. [20 Jul 2013, p.55]

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.

Devour is a rock record, full of fine songs--gimmick- ,pretention- and affectation-free. [5 Oct 2013, p.53]

This is a great rock album, built on its creators' own terms, and delivered with musical flash, songwriting panache and, at times, immense force.

On Oceania, Smashing Pumpkins finally sound like a band with an idea of where they're going. [10 Jun 2012, p.52]

Tantalisingly, this record also feels like the next building-block in a potentially genre-defining body of work. As much as we can’t wait for 100,000 gecs, however, there’s a mountain of fun to be had before we get there.

Impressions is thrumming with big ideas, bigger choruses and is imbued with the pearly wisdom learned from rolling with life's punches. [4 Mar 2017, p.53]

The unreleased and rare recordings here make this a brilliant salute to a much-missed hero. [17 Nov 2018, p.70]

It's a study in twisted instrument abuse. [10 Jun 2012, p.54]

It's a beautiful, bruised patchwork: all fragile optimism and ebbing regret. [18 Mar 2017, p.53]

Throughout, Anthrax have much to recommend them. [13 Feb 2016, p.52]

Bumbling and awkward in the best way. [1 Mar 2014, p.54]

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

Under Brian Sella's smartypants lyrics and eye-catching admissions is a beating heart and a rare honesty. [1 Jun 2013, p.53]

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.

It's 14 tracks of craziness to be embraced and shouted at the rafters. [10 Feb 2018, p.50]

The haze delivers both sleazy rock'n'roll and sugary glam-pop, with the band putting equal dedication into their myriad components to create a joyous whole. [18 Mar 2017, p.53]

Die Knowing is something darker and angrier than 2010's 5K-rated predecessor, Symptoms + Cures. [1 Mar 2014, p.54]

Another pack of incredibly weighty riffs that slowly march and stomp like an iron bloke heading out to war. [22 Mar 2014, p.53]

It works and then some. [1 Jun 2013, p.54]

Killer stuff. [1 Sep 2018, p.55]