Their diverse tunes are rough and smooth in all the right places. [20 Aug 2016, p.68]

This time out, there is greater maturity in every note. Bea’s trademark indie-folk stylings haven’t been left behind. If anything, they eclipse her grungier tendencies this time out. But on songs like the outstanding Ever Seen and Tie My Shoes there’s less lo-fi fragility and more a strident, sunbeaten warmth akin to peak Phoebe Bridgers or even latter-day Tay Tay herself.

Across its 10 tracks, Promise everything is immediate, yet charged with subtleties that offer an increasing number of things to fall in love with each passing listen. [30 Jan 2016, p.52]

As ever, SAVED! is a genuinely haunting record from an artist whose emotional articulacy is unlike any other. Creatively, it is an inspired idea, carried off by a unique talent.

The result is an album that's constantly looking for new ways to kick your teeth in, reasserting Napalm Death's status as national treasures of the homegrown extreme music scene. [25 Feb 2012, p.51]

You have a record that defies easy categorisation, reminiscent only of the restlessness embodied by outfits like Liars. If their music feels trippy and amorphous, their lyrical focus is often surprisingly specific.

All songs were recorded in one take, no editing, no bullshit, and the album simply seethes with this urgent rawness. [5 Apr 2014, p.53]

Jesse Hughes and Queens Of The Stone Age main man Josh Homme's capacity for throwing out sexy grooves has only improved with age. [3 Oct 2015, p.52]

It's a record that lives up tot he hype preceding it without seeming like it's trying to, and that shows off this youthful quartet as a truly skilled band, musically wise beyond their years. [20 Oct 2018, p.53]

Pup have come out spitting, sounding like Dookie-era Green Day dipped in tar and broken glass. [12 Apr 2014, p.53]

It's an album best-judged as its monumental whole: the sound of endless possibilities. [18 Jun 2016, p.52]

Not only is Tickets To My Downfall a slick sideways hop from what you might be expecting from Machine Gun Kelly, it’s done excellently. It celebrates everything great about pop-punk without feeling cookie-cutter or third division. It also finds its energy from the knots Kells works through in the lyrics.

This is punk as it was always meant to be: loud, ugly, righteous and alive.

Fidlar can still party; they just know they can't do it every night now. [3 Oct 2015, p.53]

With Teeth Dreams' measured and sometimes elongated songs, ideas both lyrical and musical are given room to breathe and to reach their fullest potential. [12 Apr 2014, p.53]

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.

If you’re looking for a short, fun thrill from a gang of likeable oiks with all the grace of a one-legged camel, talk to The Chats.

Words such as gorgeous, intricate, haunting, and even magnificent are easily applied across all 10 tracks here. [6 Oct 2012, p.54]

This 11-song set is a good deal of fun to listen to. [14 Jan 2012, p.50]

At its finest, this album is indecently exciting. [16 Apr 2011, p.50]

This is music to be inspired by. [27 Apr 2013, p.54]

It's a visceral, straightforward assault,, and what really shines through is a grasp of songwriting that was once sorely underused and a sense of commitment and passion that was never really in doubt. [27 Jul 2013, p.52]

Light and breezy strummer Her majesty's Service occasionally reads like a string of Fallon-isms (rolling stones, a girl named Elsie, etc.), but it's blown away by the hulking brass of Sleepwalkers, which straddles the line between grandness and outrageousness perfectly. [10 Feb 2018, p.52]

Like Patton's day job, Nevermen succeed in making the world a much weirder and interesting place. [13 Feb 2016, p.54]

It's not for the light-hearted, but Deafheaven have delivered a deranged, damaged, majestic treat here. [8 Jun 2013, p.54]

This is a record that seethes with fury. [25 Jul 2015, p.50]

A deliberate and delightful mess of punk and rock'n'roll out to deliver a black eye, Master Volume ends with the almost beautiful strains of Evil Side which buzz with an infectious, if troubled, vitality. But rather than falling apart, The Dirty Nil are simply solid. [15 Sep 2018, p.55]

Does it need to be quite as much of a lengthy binge as it is? Maybe not. But second helpings of something that’s fundamentally good are never a bad thing. And in the moment that Smashing Pumpkins currently find themselves – three-quarters reunioned, confident, dare one even say comfortable – there’s joy to be heard throughout, as they turn over rocks and see what they can find.