Tears On Tape isn't bad, then--it's just not as seductive as HIM can be. [25 May 2013, p.53]

His verge-of-a-breakdown vocals are as affecting as ever here, but there are times when he sounds not only upbeat, but downright perky. [22 Mar 2014, p.53]

While their towering riffs and melodies at times bring Korn to mind, they bring back some of the furiousness of their earlier records here. [19 Apr 2014, p.54]

This seventh album will take neither rock'n'roll's top prize nor its wooden spoon, but it's another decent arse-kicker. [22 Aug 2015, p.52]

Aside from brief moments in songs such as Satellites and Why Can't We Do It Again, the best thing about The Trigger Complex is its title. [11 Feb 2017, p.52]

It's an amalgamation of what they've done before but without the rapping, or hardcore, and with the pop dial turned to 11. [15 Apr 2017, p.51]

Papa Roach’s 10th album, then, is neither the unexpected triumph or dated nu-metal fail you might expect. There’s plenty of killer, but it’s held back by an equal amount of filler. [12 Jan 2019, p.53]

For the most part, Ice plays with middle-age, cranking up the grumpy-old-man persona he established on 2014’s Institutionalized with tongue-in-cheek glee and riding it through the exploitation movie excess of Thee Critical Beatdown.

The band’s desire to suffuse their sound with new tones and textures is admirable and frequently pays dividends, but there are moments when that drive to evolve leads them to either cleave too close to other bands or stray too far from their own fundamentals.

There are still elements of The Fall in the taut rhythms and the brief but potent guitar flashes are occasionally reminiscent of Jon Spencer or J. Mascis. As a whole piece, though, My Other People sees TV Priest continue to map out their own increasingly intriguing identity.

Minus The Bear are back on track. [22 Sep 2012, p.51]

Sure, it's hard to tell some of the more sombre tracks apart, but if it's complex, squishy emotions you're after, Maybeshewill are definitely speaking your language. [16 Aug 2014, p.54]

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

This is almost dangerously infectious stuff from ASIWYFA. [23 Mar 2013, p.54]

There are points at which this all feels a little hollow. [6 Dec 2014, p.52]

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]

Mostly, though, Red Fang rock, with pile-driving riffs and monstrous grooves that you can't simply laugh off. [15 Oct 2016, p.53]

However much it lacks the crunch and thrust of classic Helmet albums like Meantime or Betty, though, Seeing Eye Dog is still a fine addition to the band's catalogue. [4 Sep 2010, p.52]

Get The Money might not set the world ablaze like the rock bands to which it is clearly indebted, but it sounds like Taylor burning one while rocking on. Which means there’s still plenty here to put a smile on your face.

When it works, it's brilliantly dumb fun. But when it doesn't, you end up with stuff like DD's. [4 May 2013, p.53]

Weird! is a collection of good moments disappointingly hidden under an avalanche of sugar.

It's edgy. inventive, and occasionally frustrating. [2 Jun 2012, p.53]

Perhaps a little of the sparkle the absent Alkaline Trio two bring is missing here, yet pleasingly little else is. [12 May 2012, p.54]

Ultimately, the record's slower moments, Life Can't Get Much Better and Reason To Stay, keep Youth Authority from reaching the heights of their triple-platinum The Young And The Hopeless. Nevertheless, this collection of bright and lively summer anthems makes Good Charlotte's return a welcomed one. [9 Jul 2016, p.50]

While its range is, on the one hand, impressive, on the other it means that Audio Secrecy lacks something in focus, even perhaps authority. [4 Sep 2010, p.50]

This is music that has no mind for the commercial, which is a quality we all might applaud. But be warned, this is intense stuff. [16 Apr 2016, p.53]

This album is long. [10 Jun 2017, p.51]

Some of the tracks judder with a rhythm to which you cam only dance when in the throes of an electric shock. But as wearisome as these sections tend to be, they are almost wholly redeemed by moments of musical brilliance, moments which border on the sublime. [25 Jun 2016, p.50]