It sees SYB keeping up with US counterparts such as The Story So Far, while marking their territory as bright lights of the genre in the UK. [5 Oct 2013, p.54]

The result is one their most confident, consistent and cohesive record in 10 years. [11 Feb 2012, p.50]

This infusion of punk is quite some achievement given the album is divided into movements, yet in stripping back to a four-piece they strip away pretentiousness and inject rough-hewn power. [5 Feb 2011, p.51]

At times it feels like the band could let loose a little more, but such observations are minor quibbles when faced with a record as enjoyable as I Won’t Care How You Remember Me. An album packed with heart, soul and – despite its title — memorable songs, LP six is another gem from a band who rarely let you down.

This is Steel Panther's most deliciously dirty release yet. [22 Mar 2014, p.53]

There is nuance in the songwriting that, in discovery, has helped Slaves write good album, not just a collection of good songs. [16 May 2015, p.52]

The apocalyptic tone that hangs over much of the record is suffocating, in the best possible way. [9 Jul 2016, p.52]

What’s emerged is an exploration: of the heavenly and the primal, the savage and the beautiful, the ultimate mystery of what it actually is to be human.

It’s music for the loveliest of golden summer evenings, but has a greater depth to it that reveals itself with more and more listens, as if it’s coming out of its own shell. And when it does, it’s nothing but wonderful.

Its slick, sxy grooves coming over as both a stab at the mainstream and a bold reboot of their established format. [12 Jan 2019, p.55]

It's the sound of an already good band driving themselves to become greater, determined to not only maintain their impressive momentum, but also to head beyond where they've already been. [18 Jan 2014, p.52]

It might well be that The Darkness' finest moments are not behind them, after all. [30 May 2015, p.54]

A band who've proven that 21st century thrashers can give their predecessors a run for their money. [14 Apr 2012, p.54]

The push-pull between fragile piano and ruptures of psychic static is arresting, but by far Kristin’s most captivating weapon is her voice. ... It’s an awesome work of extreme beauty and brutality that will leave you speechless.

Thankfully, the band approached this follow-up with exactly the same extravagant, OTT mindset that made Everybody Wants such a riot. [Oct 27 2018, p.53]

Like the very youth it seems to be chronicling, Learning How To Live And Let Go flies by in a blur, blindsiding with the contemplative poignancy of arms-round-shoulders closer It Ain’t Easy.

There's no fat. Here in abundance is evidence of Billy's enduring genius. [13 Dec 2014, p.52]

Shelter is the first great album of 2014. [18 Jan 2014, p.52]

All that you take in is that Gore is Deftones being Good Deftones. [9 Apr 2016, p.50]

Here, nine of the 12 songs are Greg’s, and much of the album revels in his wistful romanticism as a result. ... Not that Hello Exile sits around navel-gazing. The Tom-led Last To Know is a seething rocker, and the just-audible off-mic yell before the guitar solo showcases a band as exuberant as ever, even as Joe Godino’s beats hammer down like a hangover.

This is a record that plays like Eddie’s soul is plugged directly into a jukebox skipping through different eras of music history.

Amends is a portrait of the artist as a young man, offering fans the chance to time travel and spend time with an old friend. It’s also the origin of Chester Bennington as a musician and is therefore an essential, rewarding and emotional listening for anyone who is a fan of his work.

Country-fuelled it may be, rather than the expected full-pelt rock, but so open is this letter that it easily succeeds in transcending genres. [1 Jun 2019, p.53]

Anyone who savours battered tunes and growling basslines in general will enjoy this trip through Drug Church's howled at, fractured world. [20 Jul 2013, p.55]

An overwhelming addition to a back catalogue not lacking in transcendental power, Purge finds Justin channelling distress and disgust into music that hits both body and soul, creating something wonderful out of horror and pain. This really is a perfectly-titled album.

Devour is a rock record, full of fine songs--gimmick- ,pretention- and affectation-free. [5 Oct 2013, p.53]

This is a great rock album, built on its creators' own terms, and delivered with musical flash, songwriting panache and, at times, immense force.

On Oceania, Smashing Pumpkins finally sound like a band with an idea of where they're going. [10 Jun 2012, p.52]

Tantalisingly, this record also feels like the next building-block in a potentially genre-defining body of work. As much as we can’t wait for 100,000 gecs, however, there’s a mountain of fun to be had before we get there.

Impressions is thrumming with big ideas, bigger choruses and is imbued with the pearly wisdom learned from rolling with life's punches. [4 Mar 2017, p.53]

The unreleased and rare recordings here make this a brilliant salute to a much-missed hero. [17 Nov 2018, p.70]

It's a study in twisted instrument abuse. [10 Jun 2012, p.54]

It's a beautiful, bruised patchwork: all fragile optimism and ebbing regret. [18 Mar 2017, p.53]

Throughout, Anthrax have much to recommend them. [13 Feb 2016, p.52]

Bumbling and awkward in the best way. [1 Mar 2014, p.54]

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

Ultimately, though, Krüller is best experienced not in its individual segments but as an overwhelming whole. The meld of muscle and mechanisation still demands that listeners hand themselves over entirely. So stay plugged in through the epic title-track’s spiral down into an inevitable acid ending and you’ll be haunted by the ghosts in this machine.

It's 14 tracks of craziness to be embraced and shouted at the rafters. [10 Feb 2018, p.50]

The haze delivers both sleazy rock'n'roll and sugary glam-pop, with the band putting equal dedication into their myriad components to create a joyous whole. [18 Mar 2017, p.53]

Die Knowing is something darker and angrier than 2010's 5K-rated predecessor, Symptoms + Cures. [1 Mar 2014, p.54]

Another pack of incredibly weighty riffs that slowly march and stomp like an iron bloke heading out to war. [22 Mar 2014, p.53]

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

Killer stuff. [1 Sep 2018, p.55]

The final album in the set is the best of the bunch, [8 Dec 2012, p.50]

American Football have matured, but what remains unchanged is their ability to gently tug the heartstrings. [23 Mar 2019, p.55]

It’s wilder and unvarnished, adding up to a self-portrait that’s intensely candid and intimate.

The Liverpudlian quartet have every reason to be overloaded with strident self-belief, but the striking vibrancy and surging energy with which they translate it to these 12 tracks is utterly remarkable.

Like the sonic equivalent of a Rorschach test, each track is riddled with vast soundscapes begging to be explored and made sense of. [2 May 2015, p.54]

The eclectic sounds of Wolf Alice's debut made them stars, but this sequel finds them doing everything bigger and better. [2 Sep 2017, p.51]

Heaven Upside Down betters that record [2015's The Pale Emperor]. [14 Oct 2017, p.50]

Crucially, it captures some of the magic of their debut, and will satiate those who've waited so patiently. [22 Oct 20163, p.68]

The band sound as good as they ever have, hitting the pace they set with 2005 debut, Black Thunder. [12 Oct 2013, p.51]

[The] band's most atmospheric music to date. [14 Oct 2017, p.52]

This is music with brains and bite. [12 Oct 2013, p.52]

It's a bleak, nihilistic affair, but dynamic enough never to lose its focus. [25 Feb 2012, p.52]

In allowing their imaginations to run riot in a gloriously self-indulgent way, they've made a record possessed of an extremity all of its own. [5 May 2012, p.53]

L'Enfant Sauvage is staggering. [30 Jun 2012, p.52]

A fine album from an often overlooked band. [30 Jun 2012, p.53]

It's extreme in a way that corpse-painted clowns will never understand--but as an expression of raw, wounded humanity, it stands as Dir en Grey's most captivating, compelling and soulful release to date. [30 Jul 2011, p.50]

Relapse finds them wielding those familiar sledgehammer beats and streamlined thrash riffs in a most effective fashion. [7 Apr 2012, p.52]

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]

This is an excellent album in its own right, but ONE MORE TIME… also points to an even more exciting future for blink-182.

There will be doubters and there will be haters, but Heaven :x: Hell is Sum 41 at their zenith and is, without any shadow of a doubt, the album of their career.

For Deftones, finding the sweet spots between compromise and balance, factoring in each member’s duties and creative inputs may be a more appropriate way of assessing the delicacy of the task at hand. It’s within that push and pull, that the aptly-named, tension-charged Ohms proves itself a fascinating entry into the band’s canon.

life Cycle is the sound of [their] potential exploding into being. [30 Jun 2012, p.54]

They trash out a slew of throwaway instant classics and refresh a well-worn format for no better motive than the fact that they can. [30 Jul 2011, p.51]

Good Charlotte have written an album for the modern era: honest, powerful and, most importantly, real. [22 Sep 2018, p.54]

A few teething problems aside, Between The Stars is a brilliant reinvention. [1 Nov 2014, p.54]

It’s not just the righteous fury of the music that makes it so great, either – these are songs built on a truly wide world of extreme sounds, welded together into a unique sonic bomb.

The frontman himself proves he can actually sing in places but there's also a full quota of lung-bursting, chest-beating hardcore to remind us who this is and prevent things from ever straying too far afield. [23 Jul 2011, p.51]

Good lord, what a voice Chris Cornell has - rich, bruised, defiant, fragile and strong, be bends it to his will. On Songbook ... [his voice] carries the album as it stands starkly against his simple guitar backing. [Nov. 19, 2011p. 51]

It's a deceptively simple formula, but one that Torche continue to twist into intriguing and utterly addictive shapes. [31 Jan 2015, p.54]

This is a wholly disturbing listen. [6 Dec 2014, p.54]

Their sharpest, biggest and best album to date. [7 May 2016, p.51]

It's truly impressive stuff, and a reminder of just how good they are. [7 Apr 2012, p.51]

It's hard not to get swept along by the torrent of farce and sheer loose-footed skill on show. [30 Jul 2011, p.52]

What saves these confessions from self-loathing is how Diet Cig dance the line between serious and funny wonderfully. [8 May 2017, p.66]

It broadens and deepens the story that began with that album [Sex, Death & The Infinite Void], acting as a requiem to the alien character of Roe. ... It’s simply eight tracks of lovely, rousing rock opera. Whether you’re after one, the other, or both, you’re sure to be left more than satisfied.

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]

The riff were plenty and more focused than ever before. [2 Aug 2014, p.54]

While much of the record sounds like the Rolling Stones if they'd grown up as LA punks instead of English art students. Superb. [27 Aug 2011, p.52]

What unites all six fantastically constructed pieces on this album is the sound of a band delivering on their potential, and then some. [Nov. 19, 2011 p. 52]

This is easily the best punk album of 2014. [8 Nov 2014, p.54]

It's a welcome return to form, and a contender for the best thing this band have ever done. [18 Sep 2010, p.57]

This time, La Dispute prove that less is definitely more. [15 Mar 2014, p.54]

This is a more organic effort. [28 Sep 2013, p.52]

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]

It's a bit rawer, significantly darker and a lot more Momsenier. [15 Mar 2014, p.53]

What Blues Pills serve up, like The White Stripes or Rival Sons before them, is a perfect transmission of warm rock’n’roll from a time gone by that effortlessly slinks along with natural swagger, without ever feeling studied.

At an hour-and-a-quarter, like its predecessor, 72 Seasons is a lot to cram in in one go, a marathon. But it slaps consistently, and hard.

The classy atmosphere of Hisingen Blues makes Graveyard sound timeless rather than retrogressive, and wholly relevant in 2011. [14 May 2011, p.51]

Despite the band stretching their boundaries wider than ever before and employing a kitchen-sink approach to experimentation, this is the most Enter Shikari sounding record the band have made to date.

Twilight sound astonishingly cold here. [15 Mar 2014, p.55]

As with the original, Black Stallion is an album of competing extremities held together in a state of perfect equilibrium. It is certainly true that White Pony needed no augmentation. In its original incarnation it sounds as breathtaking and innovative now as it did in June 2000. To weigh Black Stallion against it would not only be unfair, but also miss the point. What we have here is a whole new set of parallel hoof prints to marvel at.

An EP that's more than a stopgap, Polymers ... refines the ex-McClusky men's sound without making it boring. [Nov. 19, 2011 p.52]

They sound more surefooted. [26 May 2012, p.52]

While Shapeshifter isn't a complete transformation, it is a confident and relatable expedition through adolescence. [14 Oct 2017, p.53]