What emerges from the new City And Colour album, then, is the sound of a man with frailties who makes sense of it all through song. [1 Jun 2013, p.54]

This 10-track effort is rammed with classic moments. [28 Jan 2012, p.53]

Tears On Tape isn't bad, then--it's just not as seductive as HIM can be. [25 May 2013, p.53]

It's boisterously nostalgic noise. [18 May 2013, p.55]

The chaotic metalcore drums and vocals effortlessly play host to hulking, Skrillex-sized basslines, early Linkin Park turntablism and violent, Prodigy-style synths, as their sound aggressively morphs from track to track. [31 Aug 2013, p.53]

This is We Are The in Crowd--without apology, pulling no punches and making good on the promise they've been threatening to trade in on for years. [15 Feb 2014, p.52]

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 their towering riffs and melodies at times bring Korn to mind, they bring back some of the furiousness of their earlier records here. [19 Apr 2014, p.54]

This seventh album will take neither rock'n'roll's top prize nor its wooden spoon, but it's another decent arse-kicker. [22 Aug 2015, p.52]

Aside from brief moments in songs such as Satellites and Why Can't We Do It Again, the best thing about The Trigger Complex is its title. [11 Feb 2017, 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]

Papa Roach’s 10th album, then, is neither the unexpected triumph or dated nu-metal fail you might expect. There’s plenty of killer, but it’s held back by an equal amount of filler. [12 Jan 2019, p.53]

Busy with songs that fizz with life and are packed with the kind of choruses that exist in a glorious, endless summer. [17 Aug 2019, p.55]

For the most part, Ice plays with middle-age, cranking up the grumpy-old-man persona he established on 2014’s Institutionalized with tongue-in-cheek glee and riding it through the exploitation movie excess of Thee Critical Beatdown.

The band’s desire to suffuse their sound with new tones and textures is admirable and frequently pays dividends, but there are moments when that drive to evolve leads them to either cleave too close to other bands or stray too far from their own fundamentals.

There are still elements of The Fall in the taut rhythms and the brief but potent guitar flashes are occasionally reminiscent of Jon Spencer or J. Mascis. As a whole piece, though, My Other People sees TV Priest continue to map out their own increasingly intriguing identity.

It’s all written with smartness, a rough, street poetry, and a huge dollop of Americana populated by burned-out restaurants and big cars and rock’n’roll dreamers and John Hughes suburbia.

The Day Is My Enemy is the most exciting--and most angrily British--album of the year. [21 Mar 2015, p.52]

On Nine it feels like the band are finding a new lease of life in the dark days of 2019. [4 Sep 2019, p.53]

Minus The Bear are back on track. [22 Sep 2012, p.51]

What this amounts to is a sharp and often exhilarating change of gear from the Green Day of the past eight years. [22 Sep 2012, p.50]

This remains a feral ball of aggression and loathing. And frankly, we wouldn't want it any other way. [13 Oct 2012, p.54]

Sure, it's hard to tell some of the more sombre tracks apart, but if it's complex, squishy emotions you're after, Maybeshewill are definitely speaking your language. [16 Aug 2014, p.54]

It's just that Dirty work is merely a good album, when it should be a great one. [4 Jun 2011, p.51]

Hot Cakes may tail off a bit, but, ultimately, it proves as capable of suspending your belief and blowing your mind as any blockbuster. [18 Aug 2012, p.52]

This is almost dangerously infectious stuff from ASIWYFA. [23 Mar 2013, p.54]

There are points at which this all feels a little hollow. [6 Dec 2014, p.52]

There may not dispense with metalcore's regular musical motifs, then, yet the ire throughout is genuine enough that you can feel flecks of venom melting vocalist Matty Mullins' microphone. [4 Jun 2011, p.53]