This is the first suicide Silence album where each song has an identity of its own, and the first suggestion that true greatness is within their reach. [16 Jul 2011, p.51]

While at some points their aversion to easy melody and obvious structure hoists them by their own petard, there’s more than enough strange stuff here to quicken the pulse and capture the heart.

For the most part, this is an awkward journey that sounds like no-one else. Try it but don't expect an easy ride. [9 Jan 2016, p.52]

Rancid don't do anything new here, but they sound more fired-up than ever. [1 Jul 2017, p.51]

While the progression through the bracing cinematic drama of Sleep Shake, the gorgeous neo-ballad Scared, the heads down industrial charge of Medic and the hauntingly climatic Hypoxia require a few listens to really gel in the listener's mind there is some truly stunning stuff here. [5 Feb 2011, p.51]

This is an interesting unexpected extra--pretty, rather than essential. [Sep 2011, p.51]

It's all business as usual for Exodus, but business is still good. [11 Oct 2014, p.53]

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

It's an easier to admire than to love. [18 Sep 2010, p.58]

Lyrically, [frontman Pierre Bouvier] and his bandmates have barely matured from the whimpering youngsters they were when they made it big 14 years ago.... However, if you accept Taking One For The Team for what it is, which is just another Simple Plan album, then there's lots to enjoy. [20 Feb 2016, p.50]

This is music that has no mind for the commercial, which is a quality we all might applaud. But be warned, this is intense stuff. [16 Apr 2016, p.53]

It feels harsh to criticise a Panic! At The Disco record for being bold and exploring its brash nature to the fullest. ... But there's no getting around the fact this one feels like it could have done with a defter touch and some sonic restraint. [30 Jun 2018, p.53]

Robert Schwartman may well looted Rivers Cuomo's brain given how wonderfully Weezer-y it gets. [6 Aug 2016, p.52]

An album that might not test the limits of artistry, but as with this closing track [Window], leaves you with a fuzzy feeling. [5 Aug 2017, p.51]

Away from the band which he made his name, the fingerprints of one of America's finest rock bands are present and correct. But away from the stripped down monster-balladry of It Ain't Easy, under his own wing Steven is capable of a few surprises. [6 Aug 2016, p.52]

Corpse Flower is an album for completists. [15 Sep 2019, p.55]

The one thing holding Diaspora Problems back, save for its disappointing lack of hooks, is that it doesn’t exploit its strengths as fully as it might.

Blaqk Audio deliver faithfully realised fare, then, but about as 2012 as Betamax videotapes [22 Sep 2012, p.53]

Where it fails as a cohesive piece of art is the lack of continuity, save for Travis' own considerable drumming. [26 Mar 2011, p.51]

This album is long. [10 Jun 2017, p.51]

As ever, the line between sincerity and mawkishness is down to the ear of the beholder, but maturity is creeping into Beach Slang’s songs of eternal punk rock youth, and here their bleeding heart is in the right place.

It's an often thrilling listen. [17 Jan 2015, p.52]

The Raven is a solid offering, it's just not particularly as progressive as we know Steven Wilson can be. [2 Mar 2013, p.52]

Deceiver Of the Gods is bold, manly metal with a beard, a beer belly and a big old cry to it. [22 Jun 2013, p.51]

On this ninth album, they sound largely the same. [30 Mar 2013, p.54]

There's nothing here that Cradle of Filth haven't done much better elsewhere. [10 Nov 2012, p.55]

Some of the tracks judder with a rhythm to which you cam only dance when in the throes of an electric shock. But as wearisome as these sections tend to be, they are almost wholly redeemed by moments of musical brilliance, moments which border on the sublime. [25 Jun 2016, p.50]

Year Of The Hare might need multiple listens, but if you can spare the time, you just might uncover it's secret. [20 Jun 2015, p.52]