New singer Jasen Moreno has an adequate bark, but the songs themselves are the problem. [30 Mar 2013, p.54]

The overall impression is that the Bizkit remain as annoying, entertaining and incorrigibly obnoxious as they ever were. [25 Jun 2011, p.50]

Black Tide possess a thrash influence; they've suppressed it to make something they consider commercial metal. The result are neither, though do give rise to a new genre: boy-metal. [13 Aug 2011, p.51]

Friends Chicks Guitars does prove that BFS can still write stonking rock 'n' roll, frat-party anthems, but generally the band make a bigger impact here when they're taking themselves more seriously. [23 Apr 2011, p.52]

This is unashamed brooding, biker rock. [28 Jul 2012, p.54]

Siren Charms is decent enough, but it's so by-the-numbers it could have been written on a calculator. [6 Sep 2014, p.54]

Atreyu’s act of streamlining has sanded many of their edges clean off, leading to moments that sound like they’ve been made by anyone but the actual authors.

A fine album from an often overlooked band. [30 Jun 2012, p.53]

These inoffensive songs will take up almost none of your mind's capacity for thought or pleasure. [12 Mar 2016, p.53]

As far as comebacks go, sadly, this is not a good one. [29 Oct 2011, p.52]

This Means War and Bottoms Up are such generic rock "anthems" that they could have been releases in any decade since the '80s. The lyrics, meanwhile, seem to date from the '70s, possibly the 1870s. [3 Dec 2011, p.51]

It seems Punk Goes Pop has finally run its course. [22 Nov 2014, p.51]

While they may have grown up, Good Charlotte have clearly not lost sight of who they are. Perhaps most importantly, though, they still know where they're going. [30 Oct 2010, p.50]

There's enough gritty social commentary and songwriting class amid the occasional cheese to suggest that, on the long road to credibility, Bon Jovi are finally more than halfway there. [9 Mar 2013, p.52]

If all you're after is a pit-bothering lurch 'n' grind then My Damnation has it in spades, but if you're looking for anything more memorable, you'd best be looking elsewhere. [30 Jul 2011, p.52]

Too many other songs fall victim to the eternal curse of the remix album: either going too far or not far enough. [26 Oct 2013, p.52]

Woeful radio-rock mess. ... On-point production work prevents Screamer from being an unmitigated disaster, but songwise it's as deep as a puddle. [19 Oct 2019, p.55]

It's a distinctly mixed bag. [2 May 2015, p.52

The resulting tracks are notably more upbeat than you might expect from a band so normally noted for their sad-lad overtones. [10 Nov 2018, p.55]

If Not Now, When? is the work of a group who in their attempts to sound all grown-up come across as being worn-down and played out. [16 Jul 2011, p.50]

Basically a single with extra padding, Recorrupted is nothing more than a forgettable stopgap release. [19 Nov 2011, p.51]

It's too forgettable to be offensive. [23 Nov 2013, p.53]

America is an odd album, one that requires patience to unlock. [7 Apr 2018, p.54]

Sadly, Sum 41 spread the good stuff far too thin over an ambitious but not always successful 15 songs, and, to paraphrase an old title of theirs, there's too much filler and not enough killer material to truly convince. [26 Mar 2011, p.52]

Despite the myth that Anvil simply can't make a decent song, Hope In Hell is actually good. [18 May 2013, p.53]

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

For its first half, Life, Love & Hope plays to Boston's strengths.... Sadly, from the insipid If You Were In Love onwards, the album loses its way catastrophically. [7 Dec 2013, p.53]

In truth this is pale goth rock crap. [5 Nov 2011, p.52]