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.

There are some lulls, mind. Sometimes the moodiness threatens to drown the melody, and not every track earns its philosophical baggage. .... But Learning Greek is never boring. It's chaotic, clever, and just unhinged enough to charm the eyeliner off your face.

Georgia’s bass tone, not only disgustingly good, is a storytelling tool: in one instance it’s slurring and drenched in gloopy, thick fuzz, and then in other pockets it snaps awake, crunchy and computerised, but alive like a robot driven on revenge. Amy experiments with classical operatic vocal wails on opener Glory, while elsewhere her vocals become like fight talk, are enunciated with the confident cries of the Supernova era.

You Wish contains some exciting flashpoints, but it's also missing that prolonged sense of potency to draw you in further. .... Nevertheless, you can only applaud them for leaping out of the safety net of Doom Loop into a whole new world.

A (sad-hearted) joy from start to end. [17 Nov 2018, p.71]

At its best, it’s pure, soul-soothing escapism. And yet, this is only the start – as she grows, she'll evolve and mould everything she’s absorbed into an even more individual sound.

Think Jimmy eat World's last two albums and you'll get the general gist; an aching yet catchy anti-pop that tugs at the heartstrings while simultaneously making you want to dance. [12 Mar 2011, p.52]

Songs For Singles has a throwaway feel, albeit one with a lot of juddering, earth-shaking weight behind it. [25 Sep 2010, p.52]

Katakana builds from scratchy verses to a drilling riff, Missile Command boasts an undulating Sergio Vega bassline par excellence and album closer Rodan summons an oversized riff worthy of its kaiju namesake. Yet so often it’s the little surprises, the achingly cool flourishes, that impress here.

The band sound as good as they ever have, hitting the pace they set with 2005 debut, Black Thunder. [12 Oct 2013, p.51]

The Physical world is a perfect storm of groovy punk. [13 Sep 2014, p.54]

Wait for Love sees them largely sticking with what worked last time. [24 Feb 2018, p.51]

it is a wonderful thing to hear Weezer still actually sounding like Weezer here. That they’ve achieved this while pushing their creative boundaries with an orchestra only underlines it. And the best part is, when the time is right and we go back to stadiums again, they’ve still got what promises to be the perfect album to celebrate with left in the chamber.

This is an AC/DC record as lusty as they come. [22 Nov 2014, p.50]

Already legends, American Nightmare's iconic reputation should only be enhanced by this mighty return. [17 Feb 2018, p.52]

Taken as a whole, it’s the hardest and heaviest album they’ve ever made, and across its 10 tracks, it’s also Sum 41 at their most creative and willing to explore their frontiers.

A truly riveting record from explosive start to crushing finish. [9 Jul 2011, p.52]

With late Love, Oslo's Wolves like is have delivered a catchy, heartfelt racket driven by throbbing grooves and drenched in ringing guitars. [18 Jun 2011, p.52]

It's diverting stuff, even for those who don't have even the vaguest idea of the plot. [29 Sep 2018, p.55]

Their sixth album finds them stepping into a world where bands like PVRIS have started to occupy a similar space to Shirley Manson and co. It's only made Garbage themselves better. [11 Jun 2016, p.53]

With its warm production and perfect pacing The Dissent Of Man is a fitting way to celebrate this band's 30th birthday, and their continued, even elevated, relevance. [18 Sep 2010, p.56]

To nobody’s surprise, the ten pieces premiered on this third instalment often pulse with the sort of ominous keyboard patterns that’ll have you checking over your shoulder for masked serial killers or vengeful sailor ghosts.

The Canyon showcases a consistent and powerful synergy between strong songwriting, potent subject matter, and eclectic musicianship that proves The Used continue to grow as people and as a band 15 years into their career. [28 Oct 2017, p.50]

This 11-song set is a good deal of fun to listen to. [14 Jan 2012, p.50]

A dozen svelte and self-assured songs that are ear-catching in terms of being both highly accessible while being imaginatively arranged. [3 Dec 2016, p.53]

The Mutt’s Nuts is the absolute dog’s bollocks, and well worth a sniff.

It’s a fun-packed, good-time brew, and if you’re looking to beat the January blues, Hurry Up And Wait’s party-starting fever is perfect.

It is music that asks for patience n an impatient age. [10 Oct 2015, p.52]