This is a largely unimpressive album. [9 Apr 2011, p.50]

Sounding better than most of their studio-recorded output, Sugar Daddy's dark riffs are so sludgy you'll have to wash them before allowing them home. [18 Jun 2011, p.52]

While DISCO4:: PART II isn't perfect, it's definitely worth your time.

From the meandering opener, Weave, it's a record that's entirely absorbing. [31 Oct 2015, p.54]

Ultimately, Bush devotees who lived through the alt.rock ‘90s will find much to love about The Kingdom. But it is also an album delivered with Rossdale’s customary style and panache, not to mention tunes that sit elegantly alongside the likes of Everything Zen and Swallowed.

Automatic is part boom, part bust. [8 Aug 2015, p.50]

Charming, likeable collection. [29 Jun 2019, p.56]

Unfortunately, not everything works quite as well [as the opening and final tracks]. [21 May 2011, p.51]

"Misfits" is a bit of a bland closer musically, but it's a sentiment that fits the album--and Shinedown--perfectly. [26 Sep 2015, p.51]

Much of the album is minimalist in its approach, allowing Jonas Renkse’s vocals to guide the way against a kaleidoscopic soundscape of soft melodies that feel almost ethereal.

At its best, Hvman:||:Natvre has the impressive magic that has made Nightwish one of Europe’s biggest bands. But there’s a feeling this time that for such a big concept, things haven’t gone quite far enough.

Despite the record's unabashed predictability, it's hard not to get caught up in their snub-nosed bluster. [6 Apr 2013, p.54]

Two albums into their 21st century reunion, and the unhinged genius of early albums Surfer Rosa and Doolittle is largely lacking, replaced by the not unpleasant sound of old friends having a blast. [8 Oct 2016, p.52]

You Wish contains some exciting flashpoints, but it's also missing that prolonged sense of potency to draw you in further. .... Nevertheless, you can only applaud them for leaping out of the safety net of Doom Loop into a whole new world.

While For Baltimore proves they can still write a grade A banger when they put their mind to it, too many songs are destined to have "must try harder" stamped on their report card. [13 Oct 2012, p.52]

Very occasionally, such as during the first half of the otherwise excellent Crashed Out Wasted, that compulsion to pour honey in our ears can lead to a little too much saccharine. But on the whole, Race The Night is a journey worth taking, deftly hitting all of the touchpoints that make Ash such a special band.

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

There's nothing ambitious or monumental here but a tight 50 minutes of call-to-arms rage. [27 Jun 2015, p.52]

Classically Yellowcard in sound, all violins and driving drum rolls, it's a fitting tribute to their two decades on the job. [1 Oct 2016, p.52]

Dethalbum III makes for further arse kicking. [20 Oct 2012, p.54]

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]

Something's horribly lacking here. Namely, actual songs. [May 2012, p.53]

On the whole, though, while this is flawless and expertly crafted, it's also pretty unsatisfying. [26 Mar 2011, p.52]

It doesn't eclipse any of its members' day-job bands, but Surveillance is worth scoping out. [26 Nov 2016, p.52]

There are no crashing power chords, OTT theatrics or questionable haircuts to worry about on All The Truth That I Can Tell. Just an open-hearted, increasingly middle-aged man, his acoustic guitar, and the same brand of chest-swelling songwriting many of us have known since we were young.

This second self-titled album in a row feels like a new start for Stone Temple Pilots, and they're clearly determined to make it count. [17 Mar 2018, p.55]

Material continues the experimentation in conjoining the macabre drama of the pair's day job with pulsating, mid-tempo dance. [16 Apr 2016, p.53]

As a stopgap EP this might not be the best introduction to their brilliance. [27 Jul 2013, p.53]