This is an album that feels as much like a series of compelling stories as it does a collection of fine songs. [21 Jan 2012, p.53]

The Shadow Side reveals Andy Black as a creative force of his own, albeit one still finding his sound, his boundaries, his feet. [30 Apr 2016, p.66]

It's daring and rarely less than dazzling. [6 Apr 2013, p.52]

You'll need to sit down when it's all over, but you'll soon be right back to the start, re-embracing that darkness. [28 Jul 2017, p.48]

Fearless album, an absolutely banging document of the last two years that will resonate far beyond his existing audience.

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]

Musically there’s a touch more considered atmosphere than on predecessor AmeriKKKant, but this new Ministry line-up – featuring former Tool bassist Paul D’Amour and guest appearances from the likes of Billy Idol guitarist Billy Morrison and former Megadeth man David Ellefson – still knows how to rage.

Apocalyptic Love, the album, is at its best when Slash is operating within the team. [9 Jun 2012, p.52]

It's a hell of a return, better than you might have expected. [17 Oct 2015, p.52]

The results equates to a highly original sound that tends to be loved by blokes and blokes only. [12 Nov 2011, p.53]

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

By no-holds-barred closer The Scythes Remorseless Swing, it’s hard not to be overwhelmed with sheer awe just seeing these death metal progenitors getting back to murderous business. Killer stuff.

Live At Maida vale remains an excellent appetizer for Baroness' return. [27 Jul 2013, p.54]

Greta Van Fleet aren’t offering anything innovative or original, and much of their appeal surely comes from listeners’ appetite for simpler times of players plugging in and rocking out which will never truly be rekindled. Hand yourself over to a psychedelic song of praise like Trip The Light Fantastic, though, or fall into The Weight Of Dreams’ fathomless nine minutes, and this legitimately might be the next best thing.

At some point, a little experimenting may be needed, but for now this cements their status as the behemoths of British rock. [17 Jul 2017, p.50]

Supernova basks in its own raw originality and kicks any naysayers to the curb with its unforgettable impact.

Across a stirring nine-song sprawl, they showcase enough pulsating purpose, and fresh folds of their rich Gothic influence, to prove there’s still plenty to be drawn from that deep well.

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]

Bryce's masterful way with a melody shines through once again. [9 Jun 2012, p.54]

[An album] that'll slowly reveal its full charms across repeated listens. [10 Sep 2016, p.51]

Worth the price of admission for the Brilliant My Last Words alone, this remains a fascinating portrait of the artist as angry young man positioned on metal's sharpest cutting edge. [9 Jul 2011, p. 52]

This introspective, incendiary, searingly intelligent set of songs finds them as emotionally invested as they’ve ever been.

It’s not perfect (hello, Bending The Arc To Fear), but for a band previously hindered by wearing their influences so blatantly on their sleeve, they have made it to their final form.

Cave World is an album brimming not just with colour and life, but also with a sense of striking unease that is pitched somewhere between the deeply sexual and the profoundly sinister. ... That all of this strangeness is carried aloft on a smorgasbord of varying musical styles makes Cave World all the more alluring.

Rest assure, few bands combine hilarity and ferocity as well as Future Of The Left. [9 Jun 2012, p.54]

They present a skewed take on real life rather than some mystical ramblings. [27 Sep 2014, p.54]

British Lion is a brilliant album. [8 Sep 2012, p.52]

It's so genuinely anti-social, abrasive and purposeful in its mission to turn you off that it's actually impressive. [25 May 2019, p.55]