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]

A right royal ripper. [16 Sep 2017, p.51]

The Spark is very much a record for 2017. [16 Sep 2017, p.50]

Cradle Of Filth have created a gothic horror that makes Mary Shelley's Frankenstein look like The Emoji Movie. [23 Sep 2017, p.52]

Escalator Teeth, meanwhile, is another short, stabbing moment of clarity. The rest is largely exhilarating and occasionally meandering. More of the same, then, which is entirely the point. [23 Sep 2017, p.52]

Leaps and bounds ahead of their excellent M debut, Mareridt is ambitious, accomplished, and beautifully ugly. [16 Sep 2017, p.53]

Despite being recorded at various times between 1992 and 2015 the 11 tracks here gel together like any other Motorhead album. [2 Sep 2017, p.52]

While pulling no punches in discussing anxiety or uncertainty, their sparky indie punk still evokes sunny days and exhilarating nights. [16 Sep 2017, p.52]

This one's a reduction of their dense, danceable punk rock into two main groups: lairy and louche. [9 Sep 2017, p.52]

An outfit possessed of a murderous groove. [9 Sep 2017, p.51]

If you're expecting an album full of immediate anthems like Monkey Wrench and All My Life, dig out their Greatest Hits. Otherwise, bask in this hour of masterful '70s-flavoured jams. [9 Sep 2017, p.50]

A little piece of heaven indeed. [26 Aug 2017, p.48]

These are great songs. And this doesn't sound like a band with no road left to walk down. [26 Aug 2017, p.50]

Bangers like Die By The Sword and Hole In The Head share not only the four syllable song titles of the Balls To The Wall/Fast As A Shark Days; they're chock-full of those classics' runaway riffage, searing solos and tooth-cracking attitude, too. [5 Aug 2017, p.52]

Villains makes for a compelling lane change, finding the impetus to bring an interesting makeover. [12 Aug 2017, p.50]

An album that might not test the limits of artistry, but as with this closing track [Window], leaves you with a fuzzy feeling. [5 Aug 2017, p.51]