By channeling everyone from Sonic Youth to Alice In Chains, Milk Teeth's debut hits with the power of a dozen brilliant bands at once. [23 Jan 2016, p.51]

This is not a time-weathered, diluted imitation of Faith No More. This, ladies and gents, is still "The Real Thing." [9 May 2015, p.52]

These are great songs. And this doesn't sound like a band with no road left to walk down. [26 Aug 2017, p.50]

Impressive act of defiance or not, when the dust has settled, this will also be rightly remembered as simply a great album. [19 Oct 2013, p.52]

It’s a return to rock with a capital 'R'. In fact, make that three capital 'R's.

Villains makes for a compelling lane change, finding the impetus to bring an interesting makeover. [12 Aug 2017, p.50]

Having created a monster, BMTH have proven themselves equal to matching the creative demands it’s placed on them. What a re-GeN-eration.

Sixteen years in, and it's clear Soilwork still have fertile imaginations. [9 Mar 2013, p.51]

Some of the year's catchiest most accessible alt. pop tunes of the year speaks volumes of the level upon which they're operating here. [13 Oct 2018, p.54]

Written and performed by a band well into their groove, and produced by Bad Religion legend-cum-Epitaph owner Brett Gurewitz, the finished product is finely balanced, tastefully under-polished and perfectly baked.

It's a record that ignores its own decade-long mystique to work on being important on its own merit, through dazzling songcraft and the band's unrivaled ability to pull brightness from the most freakish and inharmonious junctures. [9 Dec 2017, p.51]

For all the existential dread contained therein, G_d’s Pee… also includes moments of elegiac beauty, as on shorter tracks Fire At Static Valley and the exquisite OUR SIDE HAS TO WIN (for D.H.).

The guitarist is so focused he has arguably delivered a stronger, more consistent collection than Slayer’s last two albums, for From Hell I Rise slays from start to finish.

A very impressive album. [26 Nov 2016, p.51]

Brilliantly delirious or deliriously brilliant, International Blackjazz Society is the mark of a band that are losing their minds in the best possible way. [7 Nov 2015, p.52]

It’s a fun-packed, good-time brew, and if you’re looking to beat the January blues, Hurry Up And Wait’s party-starting fever is perfect.

Kristin has created the heaviest, most intense album you’re likely to hear this year, one that makes a tremendous addition to what is becoming one of the most idiosyncratic bodies of work in modern experimental music.

To some, Infinite Granite is a further step away from what they want. To others, a step further into it. For Deafheaven, it’s simply who they are. Truthfully, it’s who they’ve always been. No surprises here.

It's certainly an album fuelled by dissatisfaction, but it's more frantic than furious. [27 May 2017, p.52]

This knowingly middle-aged iteration of Limp Bizkit is far more likeable and less obnoxious than their younger self. But even so, they’ve lost none of their Big Durst Energy, and the knowing winks have only become bigger and knowing-er.

It comes across like the soundtrack to a great lost ’90s teen movie and, best of all, with its irresistible energy and eminently quotable lyrical couplets ('I have to say you look like Hell / Oh well'), the whole thing’s an absolute blast.

It’s the pacier moments that make up the bulk of the highlights, but there are other areas of interest. Unwanted seems determined to be lots of different things to different people, ticking boxes left, right and centre in a way that seems ambitious rather than cynical, while mostly delivering on its multitude of promises.

Damage finds them rejuvenated. [8 Jun 2013, p.53]

A band with a curious alchemy, an ensemble of stylistic contrasts, pulling together to make a record of understated pleasures.

The fiery swagger and coursing vitriol of these, Jonathan's final recordings, now stand as monuments. [23 Jan 2016, p.52]

The Canterbury quartet have cemented an incredibly engaging style all of their own. [10 Mar 2018, p.55]

Weird, arty, heavy excellence, thy name is (still) Therapy?. [9 May 2015, p.53]

The end result is maybe not as coherent as Race The Night, but it’s every bit as fun. Almost 30 years since Ash named their debut album 1977, after the year that Star Wars was released, the Force is still strong with these ones.