Welcome back, Four Year Strong. [6 Jun 2014, p.51]

Should be regarded as perhaps their finest album yet. [14 Jan 2017, p.51]

This is a record just as colourful as its creator’s hair (which is handy). And while rapping about Bill Gates, Elon Musk, The Office’s Michael Scott and members of One Direction in closer See You In The Future might prove one step too far for some, for everyone else it’s all just a part of the ride. Indeed, this is very weird shit. But it rules.

The Ghost Inside still smack like a wrecking ball. [16 Jun 2012, p.53]

Sometimes angry, regularly ferocious, occasionally beautiful. [8 Oct 2016, p.53]

That first album wasn't a one-off, and here The Temperance Movement have once again proved themselves masters of their craft. [2 Jan 2016, p.52]

Senjutsu is simultaneously more diverse than its predecessor but somehow manages to concentrate its punches. It’s the sound of a band that continues to strive when it’s already honed its craft to perfection.

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

(Nasty) business as usual, then, from Anaal Nathrakh. [13 Oct 2012, p.54]

The result is jaw-dropping. [12 Jan 2013, p.52]

Murderous fantasy-fulfillment, it may be. But nobody does it better. [25 Mar 2017, p.50]

Despite the album name, there's not a not or part lacking with From Indian Lakes. [4 Oct 2014, p.53]

This is still a challenging listen that churns and rages exactly where it needs to. [30 May 2015, p.52]

Stories unfurl with an infectious nerdiness that undulates between giddy Boys’ Own exuberance and a museum curator’s painstaking attention to detail. [20 Jul 2019, p.57]

It’s testament to how thrilling Rivers Of Heresy is that by the time you reach at closing track The Looming, released, somewhat boldly, as the first single from the album, that its impact hasn’t been lessened.

The pairing makes more and more sense everytime you listen to it, perfectly rounding off 37 minutes of bubbling, stoned fuzz. [3 Feb 2018, p.52]

You'd listen to their brilliant third album and realise that they've beaten you to it (making a classic rock record). [21 Aug 2010, p.51]

The solos are absolutely enormous and are some of the most interesting song writing that they’ve produced to date.

Dear has generated a resurrection, or at least a strengthening of their life force; its creation inspired Boris to continue, turning what was supposed to be a goodbye into a forceful restating of this remarkable band's existence. [1 Jul 2017, p.50]

Grown men revisiting their youthful hijinks should be a terrible idea or, to borrow an FNM title, a midlife crisis. Instead, this record is an absolute rager, testament to both the original material and the present-day dedication of its lunatic creators.

Too late to be the sound of the summer, Beach Slang will instead warm your hearts all winter--and far beyond. [31 Oct 2015, p.54]

Depth, emotion and spirit seem to infuse everything. [20 Oct 2012, p.52]

Swirling, heady and claustrophobic at times, this is well worth further investigation. [21 Aug 2010, p.51]

Truly, so confident and perfectly measured are Royal Blood here that, while definitely focused on the stars, they sound like they never noticed the gutter was there in the first place. It’s rock’n’roll lit up by a disco ball.

Their rebellious spirit is intertwined with a sense of total, inspiring self-love and in creating that feeling of empowerment, Humble As The Sun feels revolutionary in a fresh new way.

Deficiencies are rare. When Never Let Me Go calls time on its 13 songs with the exquisitely constructed Fix Yourself, it does so in a manner befitting an album that is overwhelmingly a success.

They continue to blast out their post-punk hymns to the end of the world with a wild-eyed mania that's genuinely scary. [31 Oct 2015, p.54]

This is classic ATG with freshness and vigour to spare. [25 Oct 2014, p.54]