The end result is excellent in places, but easier to admire than endure. [21 Dec 2013, p.69]

They deliver a raw brand of garage-punk that isn't exactly new but remain fresh in these hands. [14 Mar 2020, p.73]

It's chaotic, panic-inducing and downright delirious. [5 May 2012, p.53]

As Hardcore closes, it beats its chest too, the subtleties of the album's earlier songs unfurled into those wonderful dramas of old. [12 Feb 2011, p.52]

Propelled by Sergio Vega's springy bass, Walter Schreifels' effortless instantly recognisable vocal floats over everything. [11 Nov 2017, p.51]

This is as exciting as heavy music gets in 2012. [23 Jun 2012, p.54]

The melodic emo guitar parts are more catchy than most of their ilk, while nostalgic pop-culture references are both comforting and sincere. [11 Oct 2014, p.53]

They continue to blast out their post-punk hymns to the end of the world with a wild-eyed mania that's genuinely scary. [31 Oct 2015, p.54]

It crucially all gels properly into something all of its own, rather than disparate parts that won't mix no matter how hard they're shaken. [26 Oct 2019, p.54]

Taking artistic plunges in areas outside garage punk is not for them, but this fifth album is nevertheless a solid half hour of what the Kentucky outfit do best.

It was a given that Hesitation Marks would provide Nine Inch Nails with a future. But what's so impressive here is that it's given then a future every bit as promising as their illustrious past. [31 Aug 2013, p.52]

This is hook-laden power-pop with one eye on the world's arenas. [4 Oct 2019, p.55]

There's the occasional turbulent moments of riff-deja-vu, but ultimately it's a fascinating, satisfying and impressive prog-metal odyssey. [9 Apr 2011, p.51]

They offer no hits or immediately accessible anthems, but when they do engage, they show why they're beloved of so many. [25 Aug 2012, p.54]

[The] band's most atmospheric music to date. [14 Oct 2017, p.52]

It’s not pared back, but WE ARE CHAOS is a less immediately antagonistic and forward prospect than recent output. But that’s a good thing that’s been mastered to darkly brilliant effect here. Unexpected, bold and artistic, Manson remains an artist it is dangerous to underestimate.

Longtime fans won't be disappointed by this hearty sixth effort. [20 Oct 2012, p.54]

It has to be said that this is more of a nice vibe record than it is one full of great standalone songs, but when the vibe created is as utterly charming as this, that can only be a minor gripe. [1 Jul 2017, p.52]

It’s evocative stuff, but what makes it more compelling is that it’s delivered by a 43-year-old woman whose tastes can’t be contained by low ceilings, so these observations don’t necessarily arrive with the musical backing you might expect.

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

You'll need to sit down when it's all over, but you'll soon be right back to the start, re-embracing that darkness. [28 Jul 2017, p.48]

It's absurd, OTT stuff. But who wants anything else from Andrew W.K. [24 Feb 2018, p.51]

On the whole, they should definitely be commended for their ambition in mixing things up at this stage of the game, the result making for a compelling, quite fascinating collection.

Its unhurried pace is a drag at times, but should leave bands who repeat themselves with their pride punctured and their egos pricked. [22 Nov 2014, p.51]

While pulling no punches in discussing anxiety or uncertainty, their sparky indie punk still evokes sunny days and exhilarating nights. [16 Sep 2017, p.52]

Sounding better than most of their studio-recorded output, Sugar Daddy's dark riffs are so sludgy you'll have to wash them before allowing them home. [18 Jun 2011, p.52]

Dig deeper and beguiling melodies emerge while the intriguingly sinister edge to Cacie Dalager's lyrics is exposed. [25 Aug 2012, p.53]

The Amity Affliction have polished their beauty-and-the-beast sound and frankly, it couldn't be better. [29 Sep 2012, p.54]