It's a record as sweet as 20 pumpkin spice lattes, with Gravity ('She keeps pulling me like gravity, everywhere she goes') and Perfume ('I wanna make you my girl / I wanna make you my world') sticking out as notable offenders, while the equally syrupy Kiss Me Again is also a little boilerplate. That said, it’s all rather endearing, especially for those who relate enough to the sentiment to be swept up by it.

Hideaway could perhaps have done with a few more leftfield moments, then, because while it’s breezy and over before you know it, that’s largely because the majority of it is in one sedate speed setting.

It’s not, in fact, an exaggeration to say that there are moments on this album that almost replicate the visceral intensity of vomiting. Partly that’s due to Michael’s guttural growls, a voice that rattles and chokes on itself as it exits his mouth. Around it, though, is a brutally cacophonous swirl of sound that, especially on the title-track, is harrowing and – oddly, paradoxically, confusingly – comforting.

On Women And Children Last, the Murderdolls retain the same sense of big, dumb fun they had before, but this time around the more knowingly vicious elements makes it an even more invigorating ride. [14 Aug 2010, p.48]

While they're no Tool, there's also a little something for the more cerebral of listeners. [7 Jun 2014, p.53]

Epic, bonkers album. [3 Feb 2018, p.51]

They might not be as abrasive as they once were, but Whitechapel still know how to bulldoze the opposition. [25 Jun 2016, p.52]

It's weighty and impressive in places, but without Pepper's howl it also sounds curiously incomplete. [3 Mar 2012, p.53]

The quartet take songs that are not always wholly divorced from pop music and turn them into something weird and wild. [23 Mar 2019, p.55]

Written on the road – between hotels and practice rooms across continents – the sense of freewheeling momentum is undoubtedly UNATØNED’s greatest strength, capturing the roadworn charisma and runaway force of the Machine Head 2025 live show. But with it comes a jettisoning of the tonal consistency and sprawling songcraft that defines their finest recorded work.

It's not bad but Bleeding Through have proved they're capable of a lot, lot more. [11 Feb 2012, p.51]

A strange, unruly offering. The momentous, squalling dissonance of the curtain-raising Reducer seems to signpost where they’re going, but then they spin off into a twisted, eight-track labyrinth.

Ultimately, the record's slower moments, Life Can't Get Much Better and Reason To Stay, keep Youth Authority from reaching the heights of their triple-platinum The Young And The Hopeless. Nevertheless, this collection of bright and lively summer anthems makes Good Charlotte's return a welcomed one. [9 Jul 2016, p.50]

Hardcore devotees can rest assured that Kreator have shed little of their original skin. [28 Jan 2017, p.52]

While lyrically there's nothing explicitly offensive, there are enough risque lines here to raise a few eyebrows, and enough good songs to prick a few ears. [28 Aug 2010, p.54]

So while it's a typically polished affair, it is by no means lacking in genuine emotion. [4 Sep 2010, p.51]

An album without any clear standout or breakaway tracks. [23 Sep 2017, p.52]

As good as Heavy Fire? Nope, but it's another superb shot of classic-spirited heavy rock from masters of their craft. [7 Sep 2019, p.55]

It's not what you came in for, but quite pleasant all the same. [10 Jun 2012, p.53]

His verge-of-a-breakdown vocals are as affecting as ever here, but there are times when he sounds not only upbeat, but downright perky. [22 Mar 2014, p.53]

While the album does lose focus at times, loosening its initial invigorating grip, the jovial bounce of Let's All Go To Hades is a surefire live hit when you've had a few pints. [11 Feb 2017, p.52]

It's good--at times with shades of greatness--but it's not, by any means, the best they've ever done. [22 Mar 2014, p.52]

Occasionally, they can get bogged-down in their particularly scuzzy groove, but for those who prefer their duos nasty inside and out, this is a wonderful caterwaul to get lost in. [24 Sep 2016, p.52]

It's an amalgamation of what they've done before but without the rapping, or hardcore, and with the pop dial turned to 11. [15 Apr 2017, p.51]

Black Soul Choir isn't exactly a sing-along classic, but it's a slow grower. [15 Feb 2014, p.55]

It's a distinctly mixed bag. [2 May 2015, p.52

It's effective if unspectacular, but it's the lyrics that turn this into something special. [5 Jul 2014, p.54]

While what's here is good, there could have been more to get your teeth into. At eight songs in length, this collection feels a little slight. [17 Nov 2018, p.69]