It's a stunning return to form from a band whose best years, until now, had looked to be behind them. [26 May 2012, p.54]

Those who are only after heavy guitars in their music won’t be completely satisfied. .... But this stunning, expansive collection of songs delivers exactly what this torrid world needs: a simultaneous celebration and indictment that will stand the test of time for decades to come.

It's execution is what makes it Sum 41's finest offering to date. [15 Oct 2016, p.50]

Whether you love or hate the aggressive verse/pop chorus dynamic, it's hard to deny that, when they take flight, All That Remains do so in stunning style. [16 Oct 2010, p.53]

A deft and skillful trio, here songs such as the effervescent Annabel, the spacious and confident It's A Trap and the irrepressible, bouncing Buzzkill make this point with insouciant ease. [19 May 2018, p.55]

It's a lean, mean metallic assault from a band who only seem to get better with age. [11 Aug 2012, p.53]

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]

This is still towering, hazy, stoner metal--it's just shaped with more craft than once before and is therefore far more interesting. [16 Oct 2010, p.50]

There's a middle-fingered severity that runs right through Sulphur English, knitting these different components into a coherent identity which can't be captured by portmanteau tags like blackened sludge or post-doom. [Apr 13, p.55]

A compelling, dizzying blend of chaos, commotion and beauty. [2 Jun 2018, p.55]

It's simple stuff, but it's as powerful and unstoppable as an avalanche. [6 Jan 2018, p.54]

There are numerous peaks on what might be Torche's finest album since 2008's Meanderthal. [20 Jul 2019, p.58]

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]

Twenty One Pilots prove you don't always need guitars to have a good time. [16 May 2015, p.54]

This comeback album from industrial metal outsiders Godflesh effortlessly recaptures the visceral appeal of their early days. [11 Oct 2014, p.55]

It’s a joyous riot from start to finish, and all comes together to form a loveable, middle-fingers-up record that furthers the recent work of bands like Dream Nails, Drones and Nova Twins in demonstrating the strength of modern UK punk.

This latest actualisation of their sound is just the beginning of an exciting new trajectory of musical exploration and experimentation.

There's a rare talent in being able to soundtrack a nightmare and put it to a catchy beat, but it's a skill in which this deadly duo have become absolute masters. [17 Aug 2019, p.55]

It finds them rocking even harder than usual. [1 Oct 2016, p.51]

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 appears to be the start of a promising new chapter.

On The Sick, The Dying… And The Dead!, the war machine is resolutely in-gear. Whatever the cause (COVID weirdness, the sacking of long-time bassist Dave Ellefson, logging onto Twitter for five minutes), it's killer.

As sweeping final ballad Excelsis picks up where previous closing tracks Life Eternal (Prequelle) and Respite On The Spitalfields (Impera) left off, compelling listeners to live life to the fullest with one eye on the inevitability of death, there’s surely no-one else living quite so deliciously on the level of The Devil.

As their most mature and focussed album yet, Tomorrow We Escape shows Ho99o9 can go the distance to rage on and burn bright well into the future.

24 tracks call into question the issue of quality control, but as short, sharp reminders of why all you need is three chords and something to say, there are few better examples than Teenage Time Killers' debut. [8 Aug 2015, p.52]

A record that's a straight-up fantastic return to Brian's rock'n'roll roots. [19 Mar 2016, p.67]

Tiny Moving Parts have moved the latest wave of emo forward and offered it a tissue. [25 Oct 2014, p.53]

It feels like tectonic plates have shifted for the band with The Ghost Of Orion, ushering in the dawn of a new era for My Dying Bride.