To some, Infinite Granite is a further step away from what they want. To others, a step further into it. For Deafheaven, it’s simply who they are. Truthfully, it’s who they’ve always been. No surprises here.

It's certainly an album fuelled by dissatisfaction, but it's more frantic than furious. [27 May 2017, p.52]

This knowingly middle-aged iteration of Limp Bizkit is far more likeable and less obnoxious than their younger self. But even so, they’ve lost none of their Big Durst Energy, and the knowing winks have only become bigger and knowing-er.

It comes across like the soundtrack to a great lost ’90s teen movie and, best of all, with its irresistible energy and eminently quotable lyrical couplets ('I have to say you look like Hell / Oh well'), the whole thing’s an absolute blast.

It’s the pacier moments that make up the bulk of the highlights, but there are other areas of interest. Unwanted seems determined to be lots of different things to different people, ticking boxes left, right and centre in a way that seems ambitious rather than cynical, while mostly delivering on its multitude of promises.

Damage finds them rejuvenated. [8 Jun 2013, p.53]

The fiery swagger and coursing vitriol of these, Jonathan's final recordings, now stand as monuments. [23 Jan 2016, p.52]

The Canterbury quartet have cemented an incredibly engaging style all of their own. [10 Mar 2018, p.55]

Weird, arty, heavy excellence, thy name is (still) Therapy?. [9 May 2015, p.53]

So far so grandiose. Fortunately, Coheed's music mirrors the scope of the project as a whole here. [ 6 Oct 2012, p.54]

It's this complete departure from the norm, this clean break from Greg Puciato's day job, that's the key to Fever Daydream's success. [30 Jan 2016, p.50]

Their diverse tunes are rough and smooth in all the right places. [20 Aug 2016, p.68]

Across its 10 tracks, Promise everything is immediate, yet charged with subtleties that offer an increasing number of things to fall in love with each passing listen. [30 Jan 2016, p.52]

As ever, SAVED! is a genuinely haunting record from an artist whose emotional articulacy is unlike any other. Creatively, it is an inspired idea, carried off by a unique talent.

The result is an album that's constantly looking for new ways to kick your teeth in, reasserting Napalm Death's status as national treasures of the homegrown extreme music scene. [25 Feb 2012, p.51]

You have a record that defies easy categorisation, reminiscent only of the restlessness embodied by outfits like Liars. If their music feels trippy and amorphous, their lyrical focus is often surprisingly specific.

All songs were recorded in one take, no editing, no bullshit, and the album simply seethes with this urgent rawness. [5 Apr 2014, p.53]

Jesse Hughes and Queens Of The Stone Age main man Josh Homme's capacity for throwing out sexy grooves has only improved with age. [3 Oct 2015, p.52]

It's a record that lives up tot he hype preceding it without seeming like it's trying to, and that shows off this youthful quartet as a truly skilled band, musically wise beyond their years. [20 Oct 2018, p.53]

Pup have come out spitting, sounding like Dookie-era Green Day dipped in tar and broken glass. [12 Apr 2014, p.53]

It's an album best-judged as its monumental whole: the sound of endless possibilities. [18 Jun 2016, p.52]

Not only is Tickets To My Downfall a slick sideways hop from what you might be expecting from Machine Gun Kelly, it’s done excellently. It celebrates everything great about pop-punk without feeling cookie-cutter or third division. It also finds its energy from the knots Kells works through in the lyrics.

Fidlar can still party; they just know they can't do it every night now. [3 Oct 2015, p.53]

With Teeth Dreams' measured and sometimes elongated songs, ideas both lyrical and musical are given room to breathe and to reach their fullest potential. [12 Apr 2014, p.53]

With a nod to the classic rock that inspired them, Greta Van Fleet continue to contort those great influences in challenging and evocative new directions.

If you’re looking for a short, fun thrill from a gang of likeable oiks with all the grace of a one-legged camel, talk to The Chats.

Words such as gorgeous, intricate, haunting, and even magnificent are easily applied across all 10 tracks here. [6 Oct 2012, p.54]

This 11-song set is a good deal of fun to listen to. [14 Jan 2012, p.50]