When Black Veil Brides have made an album as fist pumpingly anthemic and as downright fun as Set The World On fire is, you'd be incredibly foolish to bet against them doing just that. [18 Jun 2011, p.50]

This is a staggering album, one that leaves you bruised, bloody and breathless. [11 Jun 2011, p.52]

The overall result being that Dananananaykroyd have finally made actual songs rather than the exercises in unpredictability they have in the past. [11 Jun 2011, p.51]

There may not dispense with metalcore's regular musical motifs, then, yet the ire throughout is genuine enough that you can feel flecks of venom melting vocalist Matty Mullins' microphone. [4 Jun 2011, p.53]

Guitars buzz and chime, melodies uproot from the dirt and stand tall; the sum total being tan indefinable yet fascinating modern day rock opera that is as rewarding as it is unique. [4 Jun 2011, p.52]

The wonderfully titled England Keep My Bones features some of the finest songs Frank has yet written. [4 Jun 2011, p.52]

While this is as trying and testing as it is unique, it's certainly not without its charms. [4 Jun 2011, p.51]

It's just that Dirty work is merely a good album, when it should be a great one. [4 Jun 2011, p.51]

As much of Go Now And Live proves, these days they've embraced a more mainstream, hook-fuelled sensibility. It's one that works well, but there are problems. [23 Apr 2011, p.50]

The characteristically classy playing and Angela's seething vocal delivery will provide plenty to satisfy existing fans but, importantly, this album also captures a band still hungry to progress both creatively and commercially. You can consider Arch Enemy's rise officially back on. [28 May 2011, p.50]

At its finest, this album is indecently exciting. [16 Apr 2011, p.50]

It's another diverse and engaging album from a band proudly aging like a fine malt whiskey. [28 May 2011, p.51]

Beautifully threaded together by Eddie's therapeutic strumming, mesmerizing voice and graceful transition between moods, this is a quietly understated masterstroke. [28 May 2011, p.51]

Unfortunately, not everything works quite as well [as the opening and final tracks]. [21 May 2011, p.51]

Hot Sauce is a B-Boy bouillabaisse that manages to be both familiar yet adventurous, varied yet seemless. [7 May 2011, p.51]

It won't be to all tastes, but those that care will cherish Simple Maths dearly. [7 May 2011, p.52]

It might not always offer its charms up easily, but Crisis Works is an auspicious debut. [7 May 2011, p.52]

The album sounds like Liturgy tried to make a mathcore record, put two and two together and got three. [7 May 2011, p.52]

It's a record so strong that it's hard to single out standout tracks, and even harder to locate points of weakness, and by anyone's standards this is one hell of an achievement. [30 Apr 2011, p.50]

Friends Chicks Guitars does prove that BFS can still write stonking rock 'n' roll, frat-party anthems, but generally the band make a bigger impact here when they're taking themselves more seriously. [23 Apr 2011, p.52]

In Silverstein's hands--a decade and five albums deep now--these very same, well-worn tricks work surprisingly well and it speaks volumes for the Ontario five-piece that this, their Hopeless records debut, fizzles with life and vitality from start to finish. [23 Apr 2011, p.51]

Though the band rage like a jungle fire, it's the vocals that set them apart from their peers. [19 Apr 2011, p.52]

Anthemic opener Lords Of Abbadon, Indian Summer and the gutter-sleaze of Cocaine are the crowd-pleaser, but the main thing is that Loaded sound like a proper band now. [16 Apr 2011, p.51]

There's the occasional turbulent moments of riff-deja-vu, but ultimately it's a fascinating, satisfying and impressive prog-metal odyssey. [9 Apr 2011, p.51]

After a decade-plus of no small creative achievement, Thursday have outdone themselves. [9 Apr 2011, p.51]

This is a largely unimpressive album. [9 Apr 2011, p.50]

Some of the more rap-heavy moments are terrible, but when they throw in huge, guitar-laden choruses such as on Been To Hell and Hear Me Now, they hit the same anthemic heights as Linkin Park. [2 Apr 2011, p.51]

While lyrically there's nothing explicitly offensive, there are enough risque lines here to raise a few eyebrows, and enough good songs to prick a few ears. [28 Aug 2010, p.54]