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 a wholly disturbing listen. [6 Dec 2014, p.54]

Their sharpest, biggest and best album to date. [7 May 2016, p.51]

It's truly impressive stuff, and a reminder of just how good they are. [7 Apr 2012, p.51]

It's hard not to get swept along by the torrent of farce and sheer loose-footed skill on show. [30 Jul 2011, p.52]

This is what it sounds like when Poppy is properly in her element. When she’s got something that lights her on fire, she’s unstoppable, and this is how she’s been able to write possibly her best songs yet.

What saves these confessions from self-loathing is how Diet Cig dance the line between serious and funny wonderfully. [8 May 2017, p.66]

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.

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]

The riff were plenty and more focused than ever before. [2 Aug 2014, p.54]

While much of the record sounds like the Rolling Stones if they'd grown up as LA punks instead of English art students. Superb. [27 Aug 2011, p.52]

What unites all six fantastically constructed pieces on this album is the sound of a band delivering on their potential, and then some. [Nov. 19, 2011 p. 52]

This is easily the best punk album of 2014. [8 Nov 2014, p.54]

It's a welcome return to form, and a contender for the best thing this band have ever done. [18 Sep 2010, p.57]

This time, La Dispute prove that less is definitely more. [15 Mar 2014, p.54]

It’s a bold, fresh effort full of tunes that are simultaneously immediate and deep.

Creeper have always been great. But in this current (and unexpectedly elongated) vampire phase, they’ve blossomed into their true, proper selves.

This is a more organic effort. [28 Sep 2013, p.52]

What You Don't See holds up its end of the bargain, with rattlegun rhythms, sun-kissed melodies and enough grit in the guitars and frontman Parker Cannon's vocals to offset any saccharine edges. [16 Mar 2013, p.54]

It's a bit rawer, significantly darker and a lot more Momsenier. [15 Mar 2014, p.53]

What Blues Pills serve up, like The White Stripes or Rival Sons before them, is a perfect transmission of warm rock’n’roll from a time gone by that effortlessly slinks along with natural swagger, without ever feeling studied.

At an hour-and-a-quarter, like its predecessor, 72 Seasons is a lot to cram in in one go, a marathon. But it slaps consistently, and hard.

The classy atmosphere of Hisingen Blues makes Graveyard sound timeless rather than retrogressive, and wholly relevant in 2011. [14 May 2011, p.51]

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.

Twilight sound astonishingly cold here. [15 Mar 2014, p.55]

As with the original, Black Stallion is an album of competing extremities held together in a state of perfect equilibrium. It is certainly true that White Pony needed no augmentation. In its original incarnation it sounds as breathtaking and innovative now as it did in June 2000. To weigh Black Stallion against it would not only be unfair, but also miss the point. What we have here is a whole new set of parallel hoof prints to marvel at.

An EP that's more than a stopgap, Polymers ... refines the ex-McClusky men's sound without making it boring. [Nov. 19, 2011 p.52]

They sound more surefooted. [26 May 2012, p.52]