Here you're thrilled by how refreshingly streamlined these songs are from the off. [20 Jan 2018, p.50]

Their diesel-soaked biker rock is an uncomplicated joy. [13 Jan 2018, p.52]

Occasionally one song simple bleeds into another. ... On the whole, however, Underworld bears the mark of a band redefining who they are and putting themselves back on steady footing after a wobble. [6 Jan 2018, p.52]

Despite throwing some creative curveballs into the mix, Vale feels very much like the rue follow-up to Wretched And Divine, and sees Black Veil Brides writing their own myth once more. [13 Jan 2018, p.50]

It's simple stuff, but it's as powerful and unstoppable as an avalanche. [6 Jan 2018, p.54]

Danny's back where he belongs, and Asking Alexandria have returned with their boldest record yet. [2 Dec 2017, p.49]

This young band sound so eerily similar Led Zeppelin, you wish they'd back off a little. [25 Nov 2017, p.52]

It's a record that ignores its own decade-long mystique to work on being important on its own merit, through dazzling songcraft and the band's unrivaled ability to pull brightness from the most freakish and inharmonious junctures. [9 Dec 2017, p.51]

From the embryonic ideas to the songs' live debuts, it's the ultimate insight into the birth of a world-conquering classic. [11 Nov 2017, p.52]

An album that once again sees Wizard creating a new landscape with only the slightest adjustment. Yeah, it's more rock'n'roll, but it's still ultra-stoned, it's still ultra-heavy, and Electric Wizard still hate[s] you. [25 Nov 2017, p.51]

It frequently feels like one of those remix albums where tinkering guests have tried too hard to put their own stamp on proceedings, resulting in curios that are momentarily interesting, but will never replace the established versions in your affections on your playlists. [11 Nov 2017, p.50]

Propelled by Sergio Vega's springy bass, Walter Schreifels' effortless instantly recognisable vocal floats over everything. [11 Nov 2017, p.51]

It's radiant, bold and frequently brilliant. [4 Nov 2017, p.53]

Five years since the release of All We Love We Leave Behind, you could argue this is more of the same and just another Converge album. Pitted against the best of the band's catalogue, though, this one holds its own. [4 Nov 2017, p.50]

The Canyon showcases a consistent and powerful synergy between strong songwriting, potent subject matter, and eclectic musicianship that proves The Used continue to grow as people and as a band 15 years into their career. [28 Oct 2017, p.50]

This is Weezer experimenting a little, while still remaining recognisably them. For those down for this sort of thing, stick on your dancing shoes and go with Pacific Daydream's flow. [21 Oct 2017, p.50]

The results are much as you'd expect, with crazy lyrics and the occasional brilliant riff. [21 Oct 2017, p.52]

While Shapeshifter isn't a complete transformation, it is a confident and relatable expedition through adolescence. [14 Oct 2017, p.53]

[The] band's most atmospheric music to date. [14 Oct 2017, p.52]

Heaven Upside Down betters that record [2015's The Pale Emperor]. [14 Oct 2017, p.50]

It's a beast from start to finish. [7 Oct 2017, p.52]

A riveting convergence point for 14 years of expert graft. [7 Oct 2017, p.52]

Truly, Chelsea Wolfe has hit upon something very heavy here--something that'll haunt your nightmares long after it ends. [7 Oct 2017, p.53]

In their own way The Darkness, enthusiastically blending banter and bombast in equal measure, are proving as much fun [as Queen]. [7 Oct 2017, p.51]

Immediate heaviosity is in short supply, but Cold dark Place instead offers plenty of alternate impact. [30 Sep 2017, p.52]

Sure, the songs sound unique to SWS because of their singer's inimitable voice, but several of the tracks are reminiscent of other artists. [23 Sep 2017, p.50]

The eclectic sounds of Wolf Alice's debut made them stars, but this sequel finds them doing everything bigger and better. [2 Sep 2017, p.51]

An album without any clear standout or breakaway tracks. [23 Sep 2017, p.52]