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]

What You Don't See holds up its end of the bargain, with rattlegun rhythms, sun-kissed melodies and enough grit in the guitars and frontman Parker Cannon's vocals to offset any saccharine edges. [16 Mar 2013, p.54]

This is almost dangerously infectious stuff from ASIWYFA. [23 Mar 2013, p.54]

Kvelertak play rock'n'roll that's been distilled to its purest sense. [23 Mar 2013, p.53]

For all the whiskey-soaked swagger on offer here, there's little to distinguish these tracks from one another. [16 Mar 2013, p.53]

There's enough gritty social commentary and songwriting class amid the occasional cheese to suggest that, on the long road to credibility, Bon Jovi are finally more than halfway there. [9 Mar 2013, p.52]

Every song on Home packs a mighty chorus with a bloody, beating heart, pumping truth and righteousness to, from and for the soul. [9 Mar 2013, p.52]

The highs far outweigh the lows. [9 Mar 2013, p. 50]

The Raven is a solid offering, it's just not particularly as progressive as we know Steven Wilson can be. [2 Mar 2013, p.52]

If the music The men are making is punk, it's rarely sounded so awesome. [2 Mar 2013, p.51]

Chelsea Light Moving's debut is fantastic. [2 Mar 2013, p.51]

Welcome Oblivion confirms that the music world needs a band like How To Destroy Angels, too. [2 Mar 2013, p.50]

They craft near-perfect garage-rock songs to hang the thrills and frills from. [22 Sep 2012, p.53]

It doesn't capture Buckcherry as big or as badass as they can be. [23 Feb 2013, p.51]

Sounding like every member of the band is determined to be the loudest and most aggressive mothertrucker on Earth, this is all-out war. [23 Feb 2013, p.52]

It's the new songs (and remixes) that deserve the attention. [23 Feb 2013, p.52]

[Darkthrone] take a detour from the brawling, blackened punk of their last couple of albums and head into thrashier territory. It still sounds like Darkthorne, of course. [23 Feb 2013, p.52]