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]

Nine years in the making, this record heralds a bigger, catchier next gen Goldfinger. [8 Jul 2017, p.51]

...Of the Dark Light has particularly sharp fangs. [17 Jul 2017, p.52]

Single Mothers refreshingly don't care if you like them or not. So take them or leave them, but you'd be a fool to miss out. [17 Jul 2017, p.53]

At some point, a little experimenting may be needed, but for now this cements their status as the behemoths of British rock. [17 Jul 2017, p.50]

You'll need to sit down when it's all over, but you'll soon be right back to the start, re-embracing that darkness. [28 Jul 2017, p.48]

The best thing about Paranormal is that it sounds exactly like an Alice Cooper album. [28 Jul 2017, p.50]

Howling is full of venom, inspired by history and politics to create a dense mix of buzzsaw riffs and eerie atmospherics. [17 Jul 2017, p.52]

This is a painstakingly composed work of art--and an absolute masterpiece at that. [15 Jul 2017, p.50]

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]

Dear has generated a resurrection, or at least a strengthening of their life force; its creation inspired Boris to continue, turning what was supposed to be a goodbye into a forceful restating of this remarkable band's existence. [1 Jul 2017, p.50]

This is the release that finally sees the band hit their songwriting stride. [1 Jul 2017, p.53]

Rancid don't do anything new here, but they sound more fired-up than ever. [1 Jul 2017, p.51]

It has to be said that this is more of a nice vibe record than it is one full of great standalone songs, but when the vibe created is as utterly charming as this, that can only be a minor gripe. [1 Jul 2017, p.52]

It finds the band indulging their darkest urges, often using nothing more than noise and soundscapes. Like everything the Melvins do, however, it remains compelling, clever, and absolutely unique. [24 Jun 2017, p.53]

Hydrograd is an altogether looser, more accessible creation. [24 Jun 24, 2017, p.50]