It beautifully illustrates that bigness isn't always about loudness. [9 Mar 2013, p.52]

The bad news for Disturbed fans, and unsurprising news for their detractors, is that Divisive is an average record. Hearing the first three tracks – opening single Hey You, the leaden Bad Man, and the forgettable title-track – one hopes they’re mere aberrations and that the quality high-octane arena fodder will arrive imminently. Alas, it never does.

Perhaps it's too monochrome, too arty. [28 Apr 2012, p.52]

As much of Go Now And Live proves, these days they've embraced a more mainstream, hook-fuelled sensibility. It's one that works well, but there are problems. [23 Apr 2011, p.50]

Slave To The Game shows that they've made no attempt to advance from the tedious, well-worn and weary chug, breakdown and death growl routine. [14 Apr 2012, p.54]

This is eclectic stuff. [16 Feb 2013, p.51]

As ever, the line between sincerity and mawkishness is down to the ear of the beholder, but maturity is creeping into Beach Slang’s songs of eternal punk rock youth, and here their bleeding heart is in the right place.

Some of the more rap-heavy moments are terrible, but when they throw in huge, guitar-laden choruses such as on Been To Hell and Hear Me Now, they hit the same anthemic heights as Linkin Park. [2 Apr 2011, p.51]

Blaqk Audio deliver faithfully realised fare, then, but about as 2012 as Betamax videotapes [22 Sep 2012, p.53]

"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]

The title-track harks back to the spirit of golden-era Bon Jovi, though, and there are dashes of it scattered throughout. [22 Oct 2016, p.68]

They're strutting along a tightrope without a downward glance here. [27 Jan 2018, p.50]

Venom has injected a whole new life into the British metal heroes. [1 Aug 2015, p.50]

The fury here comes from an ominous intensity and oppressive claustrophobia. And that makes this album raw, anarchic, bleak and enjoyably nasty. [45 May 2012, p.53]

This glossy but bland procession is likely to be a weakening experience. [14 Jul 2012, p.53]

They might have over-egged the acoustic balladry here, leading to their airiness unbalancing the syncopated beefiness elsewhere, but it's delivered so slickly and confidently that few fans will care. [20 Oct 2018, p.55]

It is a bold, best foot forward tribute to where they've come from, what they are capable of and, perhaps most importantly, where they're going next. [28 Aug 2010, p.52]

It's a bit rawer, significantly darker and a lot more Momsenier. [15 Mar 2014, p.53]

They're still aggressive, heavy and furious, but this new approach also makes them relevant, incisive and swaggering again. [10 Dec 2011, p.50]

A largely drab album. [10 Feb 2018, p.51]

The result is a collection of undignified Pierce The Veil-lite songs that are fitted with all the bells and whistles, but absolutely none of the quality that makes that band successful. [8 Jul 2017, p.52]

Rituals is a bold, yet ultimately auspicious step forward. [4 Aug 2018, p.53]

As a way of rehabilitating his reputation, this is certainly a solid start. [28 Mar 2015, p.54]

It feels like there's not much tread left on the tyres, although the speaker-thumping production of Hexed make it a cut above 2015's I Worship Chaos. [9 Mar 2019, p.55]

As painful and draining Korn III undoubtedly must have been to create, there's no doubt that it re-asserts the quartet's status as one of metal's most innovative bands. [10 Jul 2010, p.50]

When Rise is good, it's a blast. However, like the boozy gang from which they take their name, there's a tendency toward excess. [22 Jun 2019, p.59]

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.

Those still pining for the slick, sparkly, arena-sized rock bombast of the masterful This Is War will be left wanting, but such is how things go on Mars, and it’s a hearteningly better album than the awkward, confused America. The guitars are back.