Beautifully threaded together by Eddie's therapeutic strumming, mesmerizing voice and graceful transition between moods, this is a quietly understated masterstroke. [28 May 2011, p.51]

It's an album that will divide and delight. [2 Jun 2012, p.54]

They might nod to the past, but Creepoid's present is plenty bright. [20 Jun 2015, p.52]

This sharper, steelier focus simply ensures that every aural blow is fatal. [24 May 2014, p.54]

Not only is it moving, it's arguably one if the best records Chris has made in the last 15 years. [26 Sep 2015, p.53]

Conduit may not be an album to please those who fell in love with Tales... but for anyone pining for a return to Funeral For A friend's earliest EPs, it's very exciting. [2 Feb 2013, p.53]

Invented is a return to the creative peaks of yore. It's a record rich with twinkling sonic subtleties, timeless melodies and characteristically layered, epic tunes. [25 Sep 2010, p.52]

Where the joke on Feel The Steel has yet to feel old, the laughs on Balls Out grow stale. It's fortunate then that, once again, the music holds up. [15 Oct 2011, p.50]

It's probably Iwrestledabearonce's most accessible album. For former lovers, though, they seem a couple notches low on the batshit-crazy scale here. [10 Aug 2013, p.53]

They gather together the bit you might have missed to keep the good times rolling. [25 Jan 2014, p.54]

They present a skewed take on real life rather than some mystical ramblings. [27 Sep 2014, p.54]

It's brilliant stuff, and proof that when it comes to enormo-doom heaviness, few do it better. Still. [5 Sep 2015, p.53]

It's all formula though, and fresh ingredients are few and far between. [3 Oct 2015, p.52]

Sure, some songs are better than others, but Ego Trip’s a rare thing: a 14-track album that features not a single duffer.

Not all of World Below lives up to this early promise. You can find songs like Poor Old Me – wonky guitar, jaded sarcasm – filling out landfill indie releases from the ’00s. However, late highlight Midnight twists heads with grinding industrial rhythms.

True, it’s also an often familiar-sounding form – that same chord progression at varying speeds, faster than Bad Religion, slower than NOFX – but they also sound like themselves again.

The time when even twitter goes quiet and the world belongs to the insomniacs, the troubled and the drunk, all of who will find solace in the Thurlows' urber-moody noisepop. [2 Jun 2012, p.53]

This is both an unpredictable, risk-taking venture and the truest hearted Alice Cooper album in many years. [10 Sep 2011, p.52]

The overall effect is one of a versatile, diffuse, but somehow far more focused collection of songs than were present in Neighborhoods. [22 Dec 2012, p.68]

By their own ridiculously lofty standards, it's not quite good enough. Again. [11 Sep 2010, p.51]

While it’s not a classic of the Corgan canon, it does feel like he’s enjoying himself immensely doing it. And we’re happy enough to hear that. [7 Dec 2019, p.53]

This certainly proves that they are still a formidable force in contemporary metal. [11 Jun 2011, p.50]

Obviously, we'd much prefer to have a new Tool album, but in the interim, Money Shot won't leave you feeling short-changed. [31 Oct 2015, p.54]

It's got markedly better machine-gunning riffs than wilderness years albums like 1999's Speed Of Sound. [27 Feb 2016, p.53]

After a while the hell-raising wears thin, though, and Luke’s jugular-bulging yells start to sound indistinguishable between songs. But when the Nil’s no-holds-barred approach comes good, it’s glorious.

The uninitiated are likely to be overwhelmed by such a glut of material, particularly when it takes so many stylistic detours and about-turns. It’s worth the endeavour, though, because there’s some sublime music here, deep and diverse, which has plenty to offer nerds and newbies alike.

Polished production courses through veins of Zig, with each track elevated above its component parts, as the genre-muddling star incorporates elements of industrial, metal and jungle amongst the record’s heavier junctures, with piano and cello bolstering the album’s more delicate passages.

This is the best album You Me At Six have made. [1 Oct 2011, p.50]