It’s a good album, though not an Opeth classic. It occasionally meanders and feels in need of a few more truly golden moments to tie its various eccentricities together into a brilliant whole.

Compounding shades of this all-encompassing bleakness and newfound furore to an already formidable plateau of emo, indie and shoegaze could just about make it mewithoutYou's finest work to date. [20 Oct 2018, p.55]

They might not always move in straight lines, but as odd as Spielbergs can sometimes seem, they're also capable of great things with whatever they fancy turning their hands to. [2 Feb 2019, p.55]

As much of Go Now And Live proves, these days they've embraced a more mainstream, hook-fuelled sensibility. It's one that works well, but there are problems. [23 Apr 2011, p.50]

The results are much as you'd expect, with crazy lyrics and the occasional brilliant riff. [21 Oct 2017, p.52]

Their 11th album, is a heaving smorgasbord of all those [quality meaty metal] sounds. [30 Jan 2016, p.52]

All Downhill From Here should have been track two, not seven because [Figure Me Out] is unbeatable. ... Skip this one [Missin' You] if you're a fan of One Direction. Guys, guitars... use them. [2 Apr 2016, p.51]

Iron Balls Of Steel ultimately raises eyebrows more often than it does fists. [14 Jan 2012, p.51]

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.

It's a voyage down the rabbit hole, and in there nothing is what it seems. [29 Sep 2018, p.55]

As usual, Attack Attack! will polarize opinion but artistically and technically, this is a serious step up. [14 Jan 2012, p.52]

FLOWERS for VASES / descansos continues what Petals For Armor started in showing just how much of Hayley Williams we still have to get to know as an artist. The Paramore question mark continues to hover, but here Hayley has once again shown that there’s more to her than one band.

NOFX’s take on Frank’s tracks turn them into turbo-charged So-Cal workouts without really having to do too much to them beyond playing them really fast. Frank’s contributions, meanwhile, see him doing a raucous version of Bob and Perfect Government in his own charming manner, while his take on reggae number Eat The Meek is smart and sharp.

It'll be too sappy for anyone who likes their rock raw, but if simpler pleasures tickle your pickle, there are few bands in this sphere pulling it off as expertly as the veteran Buffalo trio. [8 Jun 2013, p.54]

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.

Silliness and fun are very much the order of the day here so, if you want some depth to your music you'll be found wanting. [23 Oct 2010, p.51]

Have You Considered Punk Music feels like a missed opportunity to drip the verbal shields and let people all the way in. [30 Jun 2018, p.55]

When it works, as it does particularly well on Should've and Doesn't Matter, the results are impressive. But Throughout, Falling is Never less than commendable. [27 Jul 2019, p.57]

Sonically, it's perfect, but American Hi-Fi lack the songwriting genius f Rivers Cuomo or Dave Grohl that would nudge American Hi-Fi from being good to great. [20 Sep 2014, p.53]

It's got markedly better machine-gunning riffs than wilderness years albums like 1999's Speed Of Sound. [27 Feb 2016, p.53]

This is straight-up post-hardore. [14 Sep 2013, p.53]

This is an album that works best when at its most obscure. [19 Mar 2011, p.50

In truth not every track on BLEED HERE NOW quite justifies its inclusion. A trimmed down version would have been the best …Trail Of Dead album in 20 years, but this sprawling incarnation remains a comforting reminder of the warmth and weirdness of these perennial outsiders.

Live On I5 is a visceral, honest live album with little if any studio trickery, but it's clearly not Soundgarden at its finest. [19 Mar 2011, p.52]

With its emphasis on freedom, this is the kind of stuff beloved of American who are heavily armed, piss-drunk,or both. The rest of the world need not apply, however. [13 Nov 2010, p.52]

[Darkthrone] take a detour from the brawling, blackened punk of their last couple of albums and head into thrashier territory. It still sounds like Darkthorne, of course. [23 Feb 2013, p.52]

The vocals are hopelessly submerged in the mixing. Thankfully, the DVD provides brilliant (and necessary) distraction from the deflated vocal mix. [19 Mar 2011, p.52]

Nonetheless, even if the follow-up to 2022’s Garageband Superstar isn’t wildly innovative, there’s a smorgasbord of catchy tunes fizzing with sugary energy.

Dying Of Everything does not match or beat its predecessor, but that is not to say that it is lacking in any department, for it is a crushing slab of the dark’n’hard stuff executed with merciless precision and delivered with a killer mix.

There are times on Scaled And Icy where things just feel a little safe. Overall, though, Scaled And Icy is a good record which balances out the occasional underwhelming moment with flashes of brilliance that could only come from its creators.

The end result is excellent in places, but easier to admire than endure. [21 Dec 2013, p.69]

The music itself is minimalist, but still manages to conjure an intense darkness, aided by the haunting drawl of guitarist Reid Bateh. [15 Feb 2020, p.55]

Just Like You is a good album, in that it contains many more good songs than bad ones. [21 Feb 2015, p.52]

True, some of the reggae songs a re a bit lightweight, but on the punk numbers, Bad Brains' righteous fevour remains undimmed. [24 Nov 2012, p.53]

Yes, it ultimately makes for predictable stuff, but Black Star Riders play bullshit-free unpretentious rock. [15 Jun 2013, p.54]

With a demo-like production, it's not as good as the Ramones' similarly sourced Acid Eaters, but hearing him Danzig-up these tunes is still highly entertaining. [5 Dec 2015, p.52]

It doesn't capture Buckcherry as big or as badass as they can be. [23 Feb 2013, p.51]

A record that's at times so flat. [13 May 2017, p.50]

Despite Tom’s superlative guitar playing tying it all together, the way it switches genres and atmosphere so chaotically ultimately makes it too uneven to really work as an album. Still, there are plenty of gems here, and – given how disparate it all is – probably something for everyone, no matter where your musical tastes lie.

Here Finch seem like a band unpausing rather than pressing into new territory, This is therefore a somewhat confused oblivion. [27 Sep 2014,p.53]

Some inaudible lyrics and the lack of a real killer tune let Selfhood down, but even if Sharks no longer sound like they want to smash things up, they're still capable of delivering a a quiet riot. [4 May 2013, p.54]

On Motorheart The Darkness’s timekeeping is impeccable and with songs about shagging droids their virility proven beyond doubt. As for staying on the right side of that fine line, give the boys credit; two outta three ain’t bad.

Finally adding a bassists to PD's ranks has robbed them of some of their personality. [8 Sep 2018, p.53]

In general this is a more reflective, far darker album than we’re used to from the former god of partying.

This is Weezer experimenting a little, while still remaining recognisably them. For those down for this sort of thing, stick on your dancing shoes and go with Pacific Daydream's flow. [21 Oct 2017, p.50]

Too often, Living Things is the sound of a band with vast talent, but also one that hasn't figured out where to go next. [23 Jun 2012, p.52]

It's mid-tempo, arena-ready rock that won't challenge. [9 Jul 2011, p.52]

Jack White is a man you can depend on for a dirty groove and a greasy riff. Which he serves up amply here. [26 Sep 2015, p.53]

You can’t help but feel that some creative tension and idea-bouncing in there might have led to some more invention and exploration in the album’s midsection. Nevertheless, though, this is still an impeccably delivered slab of hard rock fun.

Beyond the admittedly impressive riffing, the rest of what's on offer is perfunctory. [14 Dec 2013, p.60]

A powerful, if not quite life-changing set of songs. [8 Jun 2019, p.55]

The Lunar Injection… is too long and could easily be trimmed of material most diplomatically described as ​‘non-essential’, particularly the little instrumentals/sample-laden wig outs between tracks. The rub is, of course, that these short sonic mood boards are often the bits where Zombie tries something new.

On the whole, they should definitely be commended for their ambition in mixing things up at this stage of the game, the result making for a compelling, quite fascinating collection.

The title-track harks back to the spirit of golden-era Bon Jovi, though, and there are dashes of it scattered throughout. [22 Oct 2016, p.68]

It's not much of an evolution, but the revolutionary fire still burns. [6 Jun 2015, p.53]

Although everything is rendered with a high-shine gloss and sanitised precision that makes it more saccharine than Sex Pistols, there's still an enjoyment to be had on a basic level. [5 Jul 2014, p.53]

Order Of The Black will keep diehard Black Label Society fans happy, but it's still some way from being a truly classic release. [28 Aug 2010, p.53]

Occasionally one song simple bleeds into another. ... On the whole, however, Underworld bears the mark of a band redefining who they are and putting themselves back on steady footing after a wobble. [6 Jan 2018, p.52]

While Dave's guitars are still engaging, their spirit is undone by a lack of soul underneath. [28 Aug 2010, p.54]

It does meander in the middle, but mostly this is an admirable step in Katatonia's ongoing quest to keep their identity fresh. [18 Jun 2016, p.52]

Ultimately, there are enough ideas on display here to just about see Twin Atlantic right. While it may not be a clear-cut success, Transparency does prove once again that its creators have it in them to be bloody great.

The result is a treat for diehard fans only and entirely dispensable for anyone else. [12 Nov 2011, p.54]

If you never liked them, this album probably won't change your mind. But, for anyone already "down with the sickness" Asylum is quite possibly their best record to date. [21 Aug 2010, 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]

Admittedly, the single-minded focus does get a bit repetitive, but Optimal Lifestyles makes for a defiantly fizzy soundtrack to growing old disgracefully. [6 Apr 2019, p.71]

Heavy and not consistently rewarding, it is nonetheless always interesting. [18 Jun 2011, p.51]

They might have over-egged the acoustic balladry here, leading to their airiness unbalancing the syncopated beefiness elsewhere, but it's delivered so slickly and confidently that few fans will care. [20 Oct 2018, p.55]

It's far from bad. Sadly, though, Everblack's also far from The Black Dahlia Murder at their best. [8 Jun 2013, p.54]

The overall impression is that the Bizkit remain as annoying, entertaining and incorrigibly obnoxious as they ever were. [25 Jun 2011, p.50]

Effective as their hard and heavy approach is, the formulaic familiarity does grow weary at times but that won't bother their legion of diehards and Leveler might even snare some new ones. [25 Jun 2011, p.52]

While there is nothing to rival the classic Step Down, it's hard to argue with the punch SOIA still pack. [4 Oct 2014, p.54]

These days, you sense, they'd rather have cheese and wine than kegs, coke and skipful of strippers. There are still some fine moments here, however. [31 Jul 2010, p.50]

Holy Roller packs all the cloying jangle of a thousand mid-'00s forgotten filler tracks, while closer Palace doesn't so much dampen gunpowder as drop curtain with a watery "plop." But swagger frequently outweigh s stumble, and the band's innate sense of class shines brightly throughout. [10 Jun 2017, p.50]

Occasionally, Thin Mind lacks the energy to truly achieve lift off, but maturity has given Wolf Parade room to roam. [11 Jan 2020, p.57]

Not for those new to the band; interesting for those already acquainted. [31 Jul 2010, p.51]

While there are flashes of exceptional power and invention on offer, there is also a fair share of nondescript greyness, too. [14 Jun 2014, p.52]

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]

Their diesel-soaked biker rock is an uncomplicated joy. [13 Jan 2018, p.52]

Boris often sound like they're fashioning a facsimile of a style rather than engaging with it fully. [14 Jun 2014, p.53]

Frequently bursts with the impactful emotion now expected from its creators. [11 Jan 2020, p.57]

Perhaps it's too monochrome, too arty. [28 Apr 2012, p.52]

Bottom-heavy power dynamic shines on tracks like Dark Horse, a parade of colossal bass drums and Demi’s pseudo-organ effects wizardry, which then reveals its true colours with a flourish of doomy, speaker-blowing riffs.

It's very difficult to dislike music this unashamedly cheery. [8 Oct 2011, p.52]

A compelling return from the godfather of goth-punk. [3 Jul 2010, p.51]

When they're good, they are astounding, and almost impossible to adequately describe. When they miss the mark, though, this lot grate. [7 Mar 2015, p.54]

Eyehategod are growing old disgracefully, and they're all the better for it. [24 May 2014, p.54]

On one hand, it's hard to take seriously, but there's something disarmingly sincere about the whole thing and it's carried off with expert skill. [26 Jun 2010, p.52]

When it good, Music From Another Dimension! captures Aerosmith in all their shiny, glittering glory.... However, at over an hour in length, the party begins to sag after a while. [3 Nov 2012, p.52]

Weather Systems is entirely devoid of death growls and contains only the barest hint of volume and aggression. What it does have is lush instrumentation and a sense of drama without the use of distortion. [28 Apr 2012, p.53]

You get exactly the sort of greasy grooves you'd expect, but with a whole lot of Cuban cool thrown in as well. [14 Nov 2015, p.52]

This is a collection of good and sometimes very good songs from a band hacking their way towards their 40th birthday. [15 Jan 2011, p.51]

It might not always offer its charms up easily, but Crisis Works is an auspicious debut. [7 May 2011, p.52]

The fury here comes from an ominous intensity and oppressive claustrophobia. And that makes this album raw, anarchic, bleak and enjoyably nasty. [45 May 2012, p.53]

It won't be to all tastes, but those that care will cherish Simple Maths dearly. [7 May 2011, p.52]

It's an album that succeeds on its own terms but if it really does mark the effective end of Opeth as a metal band, that will remain our loss. [Sept 17 2011, p.50]

Over the course of their 10-year career, The Black Dahlia Murder have struck rigorously to their melodic death signature sound while delivering engaging albums, and Ritual maintains this standard. [25 Jun 2011, p.51]

It's a little one-dimensional in places, but there's no denying the strength of feeling raging underneath. [3 Nov 2012, p.53]

There's loads to admire here--but plenty to test your patience, too. [11 Jan 2014, p.54]