Taken on its own merits, this is still a stunning album from a band operating at the peak of their powers. [18 May 2013, p.52]

It beautifully illustrates that bigness isn't always about loudness. [9 Mar 2013, p.52]

One listen to The Computers' latest album will show you how much they've grown since the aggro punk 'n' roll of 2008's You Can't Hide From The Computers. [27 Apr 2013, p.54]

30 Seconds to Mars' latest collection is not cloying, expansive yet often economical, approachable without being familiar. [11 May 2013, p.52]

With Ungrateful, Escape The fate have finally delivered the album they needed to make. [11 May 2013, p.53]

Some inaudible lyrics and the lack of a real killer tune let Selfhood down, but even if Sharks no longer sound like they want to smash things up, they're still capable of delivering a a quiet riot. [4 May 2013, p.54]

Arcane Roots have delivered one of 2013's best albums. [4 May 2013, p.53]

When it works, it's brilliantly dumb fun. But when it doesn't, you end up with stuff like DD's. [4 May 2013, p.53]

It's an often staggering record, by a great band, defying odds, on a hell of a run of first-lass creative form. [4 May 2013, p.52]

This is the sound of Coliseum growing up without getting old and boring. [27 Apr 2013, p.54]

Despite Daylight's unapologetically retro vibe, this is one of 2013's standout debuts so far. [27 Apr 2013, p.53]

Melvins are occasionally awful, but at least the contrary sods are never dull. [27 Apr 2013, p.53]

The Last Spire is the sound of Cathedral going out on a high. [27 Apr 2013, p.55]

The second storey of The House Of Bones story, is as excellent as its predecessor. [30 Mar 2013, p.53]

It marks their perfection of the swooning pop stuff they've been churning out since 2006. [30 Mar 2013, p.54]

Despite the record's unabashed predictability, it's hard not to get caught up in their snub-nosed bluster. [6 Apr 2013, p.54]

If the Devil really does have all the best tunes, he's loaned a few of them to Ghost B.C. [6 Apr 2013, p.55]

Nails have delivered one of the most savage and head-spinning albums of the year so far. [6 Apr 2013, p.53]

Disarm The Descent is an overdue return, a prodigal son story and their best album since The End Of Heartache. [6 Apr 2013, p.53]

It's daring and rarely less than dazzling. [6 Apr 2013, p.52]

With singer Lacey Sturm plastering every word in M-E-L-O-D-Y, she ensures that the choruses of Fire Fire, Cage On The Ground and the title track all pirouette around you brain for days. [13 Apr 2013, p.60]

Save Rock And Roll is bonkers, brilliant and it's Fall Out Boy like you've never heard them. [13 Apr 2013, p.58]

It's easy-going, it's listenable, but it also sounds a bit, well, tired. [13 Apr 2013, p.59]

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

On this ninth album, they sound largely the same. [30 Mar 2013, p.54]

Sempiternal sounds like a record that wants the world--that's all of it, not just the bits where longhairs dwell--which is refreshing for a metal record in 2013. [30 Mar 2013, p.52]

This is how you do post-hardcore in 2013 without sounding like a relic. [23 Mar 2013, p.54]

[The diversity of genres] proves a welcome alternative to COTV's more genre-bound contemporaries,e even if the furious freneticism of grind anchors their sound with a clear sense of identity. [16 Mar 2013, p.55]