Damage finds them rejuvenated. [8 Jun 2013, p.53]

Sure, the band haven't exactly come up trumps on originality here, but at least they're delivered some huge songs. [25 May 2013, p.54]

What emerges from the new City And Colour album, then, is the sound of a man with frailties who makes sense of it all through song. [1 Jun 2013, p.54]

It works and then some. [1 Jun 2013, p.54]

Under Brian Sella's smartypants lyrics and eye-catching admissions is a beating heart and a rare honesty. [1 Jun 2013, p.53]

Most of Super Collider feels half-hearted and rushed. [1 Jun 2013, p53]

In its eight track, Ozzy, Tony, and bassist Geezer Butler have managed to once again capture that special essence which makes them so magical. And it's bloody fantastic. [1 Jun 2013, p.52]

Once again, Kylesa have made a humdinger without repeating themselves. [1 Jun 2013, p.53]

It's boisterously nostalgic noise. [18 May 2013, p.55]

Though it might fail to inspire at first, it will do eventually. A grower, then. But a genuine one. [25 May 2013, p.52]

Tears On Tape isn't bad, then--it's just not as seductive as HIM can be. [25 May 2013, p.53]

This is the sound of TesseracT getting even better. [25 May 2013, p.54]

This is a brilliant mix of heaviness and The Wicker Man-esque oddness. [25 May 2013, p.54]

Very occasionally, they come a school uniform away from actually impersonating their forefathers, but it's a formula they execute wit the same kick-ass conviction that earned them support slots with Iron Maiden. [18 May 2013, p.53]

YPLL exceeds expectations, Retox ramping up the frenzy with catchier riffs and a more focused assault on musical convention. [18 May 2013, p.54]

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]