There is nothing incendiary here. [27 Aug 2011, p.51]

There's a certain dumb fun attached to the gonzo country rock of Drinking Beer With Dad, but, in truth, we'd be lion to you if we said First Kiss was good. [14 Feb 2015, p.53]

There's nothing on the album that's going to suddenly turn them into queen bees again, but Alien Ant Farm here prove themselves to be an enterprise running on more than just the fumes of nostalgia. [14 Mar 2015, p.53]

This is a collection of classic covers and reimaginings if Primus gems done country-style. [25 Jan 2014, p.54]

With a nod to the classic rock that inspired them, Greta Van Fleet continue to contort those great influences in challenging and evocative new directions.

Th songs are reductive, redundant, unimaginative, and dull. [26 May 2012, p.54]

The songs blurring together in a collision of lurching, down-tuned juddering riffs and electronics. ... Tedious. [6 Jul 2019, p.55]

Megadeth (the album) is the perfect encapsulation of how Megadeth (the band) have lived: bold, frequently brilliant but occasionally flawed.

This is straight-up post-hardore. [14 Sep 2013, p.53]

Bad Religion are still capable of holding on to their defiantly secular edge. [9 Nov 2013, p.53]

It might attract a few Mumford fans, but if you prefer Yellowcard to sound like, well, Yellowcard, stick to the original. [10 Aug 2013, p.55]

Too often, Living Things is the sound of a band with vast talent, but also one that hasn't figured out where to go next. [23 Jun 2012, p.52]

The Oracle sounds like it was written on autopilot, with the band ticking off the ingredients that made previous albums sell with out injecting any fire or imagination. [3 Jul 2010, p.51]

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]

A five year pop-rock trilogy concludes in audacious style. [Sep 2011, p.52]

For every ELO-meets-Panic!-At-The-Disco pop gem that makes you think Fun. are great, there's also an Auto-Tuned-to-buggery vocal or irksome trumpet riff that simply grates. [26 May 2012, p.53]

It's a pleasant enough record, but not one that will rouse or inspire beyond Dallas' already charmed following. [12 Oct 2019, p.55]

For those who like their rock and metal to hit with swift immediacy, Take Me Back To Eden’s hour-plus runtime might prove a bit of a slog, but if you allow yourself to be fully immersed in Sleep Token’s world, the sonic rewards are plentiful.

It's an energetic debut that certainly shoes that this band is full of--as yet untapped--potential. [11 Feb 2012, p.52]

It all moves along at a slow-burning pace, rather than the usual cocky swagger. [20 May 2016, p.52]

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

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]

While it isn't Bullet's best album, it's certainly their most mature and interesting effort to date. [2 Feb 2013, p.52]

As usual, Attack Attack! will polarize opinion but artistically and technically, this is a serious step up. [14 Jan 2012, p.52]

It's a collection of suitably mixed results, but Fall Out Boy should be applauded for continuing to do whatever the hell they feel like. [7 Nov 2015, p.52]

The Verge is the sound of a band trying far too hard to hit the mark--and falling short as a direct result of that. [2 Jul 2011, p.52]

With its obvious choruses and routine abrasive sections,, the more discerning ear will recognize that this band wield far more force than they do finesse. [29 Oct 2011, p.52]

They've not skipped a beat, picking up where they left off. [30 Jun 2012, p.54]