What we're left with is an overlong, quietly ominous strumming set showcasing his twisted genius. [14 Jun 2014, p.55]

LuLu is an album that will require many plays before the music contained within beings to make sense. [29 Oct 2011, p.50]

The buzzsaw guitars and cheese-free hooks remain largely the same, but there's a passion and depth to these songs that really rolls back the years. [1 Nov 2014, p.53]

At no point is it bad, and sometimes it’s rather good, but nothing here is particularly essential.

Sure, the songs sound unique to SWS because of their singer's inimitable voice, but several of the tracks are reminiscent of other artists. [23 Sep 2017, p.50]

Alas, as with other City and Colour albums, this one suffers from moments of terminal blandness.

It will probably prove overly sweet for some tastes but when they hit top form, they're an absolute joy. [29 Oct 2011, p.51]

They're the latest addition to an emerging new breed of post-hardcore acts that are deliberate, delicate, messy and aggressive all at once. [21 Dec 2013, p.70]

Propelled by Sergio Vega's springy bass, Walter Schreifels' effortless instantly recognisable vocal floats over everything. [11 Nov 2017, p.51]

What sounds beautiful one minute can be unwieldy the next, as everything hazes together. [7 Sep 2013, p.52]

Megadeth are simply a little bit mid-paced, even monochromatic. [5 Nov 2011, p.51]

Anthemic opener Lords Of Abbadon, Indian Summer and the gutter-sleaze of Cocaine are the crowd-pleaser, but the main thing is that Loaded sound like a proper band now. [16 Apr 2011, p.51]

It lacks a little cohesion and substance beneath all of the surface clatter. [18 Aug 2012, p.53]

All the usual COF ingredients--the abrasive vocals, the dexterous buzzsaw riffage, the furiously prop propulsive drumming--are present and correct, but here they're channeled into more streamlined songs while the more melodic elements are often pushed to the fore. [23 Oct 2010, p.50]

This is a solid, talented and very decent record. But it lacks sparkle. It lacks charisma and personality. [12 Nov 2012, p.52]

Separated from the narrative and visuals it's designed around, the music emanates an isolated, dissociated air, but that only adds to its jarring overall effect. [3 Dec 2012, p.52]

We’re left with something that isn’t Volbeat’s best album, but is a candidate for their most interesting.

Get The Money might not set the world ablaze like the rock bands to which it is clearly indebted, but it sounds like Taylor burning one while rocking on. Which means there’s still plenty here to put a smile on your face.

Somewhat surprisingly, it lacks some of the droning, distorted fuzz of yore. [21 Jul 2012, p.53]

Twelve years puts the emotion back into emo. [5 May 2012, p.54]

It's diverting stuff, even for those who don't have even the vaguest idea of the plot. [29 Sep 2018, p.55]

It's not a "big" listen, and there are no killer tunes, but seeking such obvious moments would be missing the point. [16 Jul 2016, p.52]

Some people may find this outdated, but it's an absolute treasure chest for slavish fans. [19 Jul 2014, p.53]

Unquestionably the most proggy proposition on the album, this tune [L’Enfant De La Lune] shifts through different passages like a receptacle for all the musical touches Alcest have at their disposal. As such, it’s part of a listening experience which often feels like something of a journey, and if the specific destination is ambiguous, the direction is very much into the light.

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.

While Daemon is not without its evil edge, there's a bounciness to it that makes it an interesting and, oddly, occasionally fun listen. [2 Nov 2019, p.55]

Through the Wall plays more like a scrappy, occasionally impressive side project. [27 Oct 2018, 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.