Occasionally, they can get bogged-down in their particularly scuzzy groove, but for those who prefer their duos nasty inside and out, this is a wonderful caterwaul to get lost in. [24 Sep 2016, 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]

Black Soul Choir isn't exactly a sing-along classic, but it's a slow grower. [15 Feb 2014, p.55]

It's a distinctly mixed bag. [2 May 2015, p.52

It's effective if unspectacular, but it's the lyrics that turn this into something special. [5 Jul 2014, p.54]

While what's here is good, there could have been more to get your teeth into. At eight songs in length, this collection feels a little slight. [17 Nov 2018, p.69]

Challenging, but intriguing. [15 Apr 2017, p.52]

The album just needs a standout moment among Blood Red Shoes' moods to make these songs genuinely memorable. [1 Mar 2014, p.54]

Korn haven't reinvented their own here, but it's still a worthy addition to their canon. [22 Oct 20163, p.67]

A (sad-hearted) joy from start to end. [17 Nov 2018, p.71]

Finding new ways to bring the heavy. [1 Feb 2020, p.55]

As it is, the highlights just about mitigate the lack of surprises, making it a Red Fang album with a bite that doesn’t grip quite as much or as hard as we’ve been used to.

What emerges from the new City And Colour album, then, is the sound of a man with frailties who makes sense of it all through song. [1 Jun 2013, p.54]

There's no pushing at the boundaries, but this nevertheless shows Silverstein can still turn some of the things they touch to gold. [16 May 2015, p.54]

Escalator Teeth, meanwhile, is another short, stabbing moment of clarity. The rest is largely exhilarating and occasionally meandering. More of the same, then, which is entirely the point. [23 Sep 2017, p.52]

Friends Chicks Guitars does prove that BFS can still write stonking rock 'n' roll, frat-party anthems, but generally the band make a bigger impact here when they're taking themselves more seriously. [23 Apr 2011, p.52]

They've not skipped a beat, picking up where they left off. [30 Jun 2012, p.54]

It's claustrophobic and uneasy. [9 May 2015, p.53]

So far, so good then. It’s a takeaway reinforced by most of the album, in fact. ... Where Let The Bad Times Roll will likely divide opinion is in the mid-point, three-track swing of the aforementioned, ice-hockey-goal-music swagger of Coming For You, the bookending, rocked-up cover of evil orchestral classic In The Hall Of The Mountain King, and the embarrassing dad overshare of We Never Have Sex Anymore.

It's hardly challenging, but Himalayan is nevertheless another goal for for Band of Skulls. [22 Mar 2014, p.54]

It's radiant, bold and frequently brilliant. [4 Nov 2017, p.53]

This side of Chuck won't change your life, but it will certainly twang your heartstrings for half an hour. [22 Mar 2014, p.55]

They may tick all the metalcore boxes, but do so with aplomb. [30 Jun 2012, p.54]

Million Miles An Hour is the kind of dumb, red-cup rock that only very clever people can write, while Get 'Em Up is the best song about erectile dysfunction (we think) ever written. [29 Nov 2014, p.52]

This is a collection of classic covers and reimaginings if Primus gems done country-style. [25 Jan 2014, p.54]

Erase Me is not a perfect record, but it is a solid statement from a band who believe they still gave unfinished business to attend to. [7 Apr 2018, p.53]

By the time you get to No Secrets halfway through, you may be wanting something a little different. But for a late-night album, Mirrors The Sky does the trick. [15 Mar 2014, p.54]

While this retains their characteristic strangeness, you could argue it isn't the best use of their considerable talents. [8 Nov 2014, p.54]

As a big, glossy rock record that finds Bush aging both gracefully and garishly, The Art Of Survival is a success, even if it’s unlikely to win over any those who’ve remained immune to the band’s charms so far, and isn’t innovative enough to ensnare new listeners.

IX isn't quite as boisterous as 2012's outstanding and raucous Lost Songs, but ...And You Will Know Us by the Trail of Dead's subtle power still impresses. [8 Nov 2014, p.55]

It might not be the Melvins at their most essential, but their status as rock's quirkiest heroes remains irrefutable. [Apr 2018, p.55]

Expect to get sonically clobbered. Expect big things from Capture The Crown just down the line. [2 Aug 2014, p.54]

It's a good album, but one undone by its more extreme moments. [25 Feb 2012, p.52]

A five year pop-rock trilogy concludes in audacious style. [Sep 2011, p.52]

It's an interesting trip, if one that occasionally sees ATW stray too far into self-indulgence. [27 Feb 2016, p.52]

A pleasingly aggressive, frequently trash-happy affair that has plenty of life to it. [29 Sep 2018, p.55]

Where the joke on Feel The Steel has yet to feel old, the laughs on Balls Out grow stale. It's fortunate then that, once again, the music holds up. [15 Oct 2011, p.50]

It's dreamy stuff, but it's nothing on their 5K-rated, self-titled 2012 debut album. [15 Nov 2014, p.54]

Its unhurried pace is a drag at times, but should leave bands who repeat themselves with their pride punctured and their egos pricked. [22 Nov 2014, p.51]

Nu-Metal stars release a solid effort. [Sep 2011, p.52]

By their own ridiculously lofty standards, it's not quite good enough. Again. [11 Sep 2010, p.51]

Neither Boris nor Merzbow are particularly known for their music being concise, and of course this opus is no exception — clocking in at almost 90 minutes it takes its sweet time making its point. This isn’t necessarily a bad thing, as they unhurriedly pick apart their previous material it provides fresh perspective and an opportunity to rediscover.

It frequently feels like one of those remix albums where tinkering guests have tried too hard to put their own stamp on proceedings, resulting in curios that are momentarily interesting, but will never replace the established versions in your affections on your playlists. [11 Nov 2017, p.50]

Across 12 tracks, it does get a little samey, but then again, individual songs aren’t the entire point here. This is a record that creates an atmosphere around itself, a world of its own, without sounding twee or like something from a real ale festival. A curio, maybe, but a heartfelt and skilfully realised one from a genuinely unique artist.

Lex Hives may not re-write The Hives' rulebook, it does offer proof that this band sounds heftier and, somehow, even more colorful than before. [2 Jun 2012, p.54]

Full of weirdness and with groove to spare, this is a fascinating collection. [25 Feb 2017, p.53]

A composed and well-thought-out record, Life In Your Glass World doesn’t exactly shatter expectations, but what it does showcase is a talented band operating with a fully-fledged confidence and faith in their craft, and that’s more than fine by us.

Justice For None is an album that delivers Five Finger Death Punch's wallop adequately. 19 May 2018, p.53]

It's an album that will divide and delight. [2 Jun 2012, p.54]

They are creative and explorative, restless and even daring. For the most part, though, these days they're also not that good. [Sep 2011, p.50]

An album of blues covers that's beautifully mellow and endearingly warm. [25 Sep 2010, p.52]

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

The resulting tracks are notably more upbeat than you might expect from a band so normally noted for their sad-lad overtones. [10 Nov 2018, p.55]

Eccentric in all the right ways, No Home Record is just poppy enough to be accessible, yet edgy enough to satisfy even the pickiest of old school noise-rock fans. [12 Oct 2019, p.55]

Their sound remains a punk-informed take on the abandon of '60s garage rock, a well-trodden style which they've nonetheless made their own. It turns out that shitty times make for an intriguing album. [29 Sep 2018, p.55]

As ever, they do a fine job here juggling endless solos among intricate vocal passages and harmonies. [Sep 2011, p.51]

These four pieces make a case for Pelican's future being far brighter than expected. [14 Apr 2012, p.54]

A little of their usual magic may have evaporated, but it's still a pleasure to hear these awkward buggers playing it straight. [22 Nov 2014, p.52]

Less encouraging is that while the album is unmistakably brutal, it's also remarkably unmemorable. [2 Apr 2011, p.52]

The dreamy Cali-sound is easy to get lost in, but Seahaven takes you somewhere you won't actually mind being stranded. [22 Mar 2014, p.53]

Neighborhoods might never quite land a knockout blow, but it certainly does enough to earn them a rematch int he future. [24 Sep 2011, p.50]

Humanist finds former Exit Calm man Rob Marshall crafting a brooding songbook fuelled by echoing post-punk guitars, steely beats and electronic embellishments.

The result is a bouncy, punk-fuelled album that's entertaining enough if throwaway in the extreme. [12 Nov 2011, p.53]

What we're left with is an overlong, quietly ominous strumming set showcasing his twisted genius. [14 Jun 2014, p.55]

LuLu is an album that will require many plays before the music contained within beings to make sense. [29 Oct 2011, p.50]

The buzzsaw guitars and cheese-free hooks remain largely the same, but there's a passion and depth to these songs that really rolls back the years. [1 Nov 2014, p.53]

At no point is it bad, and sometimes it’s rather good, but nothing here is particularly essential.

Sure, the songs sound unique to SWS because of their singer's inimitable voice, but several of the tracks are reminiscent of other artists. [23 Sep 2017, p.50]

Alas, as with other City and Colour albums, this one suffers from moments of terminal blandness.

It will probably prove overly sweet for some tastes but when they hit top form, they're an absolute joy. [29 Oct 2011, p.51]

They're the latest addition to an emerging new breed of post-hardcore acts that are deliberate, delicate, messy and aggressive all at once. [21 Dec 2013, p.70]

Propelled by Sergio Vega's springy bass, Walter Schreifels' effortless instantly recognisable vocal floats over everything. [11 Nov 2017, p.51]

What sounds beautiful one minute can be unwieldy the next, as everything hazes together. [7 Sep 2013, p.52]

Megadeth are simply a little bit mid-paced, even monochromatic. [5 Nov 2011, p.51]

Anthemic opener Lords Of Abbadon, Indian Summer and the gutter-sleaze of Cocaine are the crowd-pleaser, but the main thing is that Loaded sound like a proper band now. [16 Apr 2011, p.51]

It lacks a little cohesion and substance beneath all of the surface clatter. [18 Aug 2012, p.53]

All the usual COF ingredients--the abrasive vocals, the dexterous buzzsaw riffage, the furiously prop propulsive drumming--are present and correct, but here they're channeled into more streamlined songs while the more melodic elements are often pushed to the fore. [23 Oct 2010, p.50]

This is a solid, talented and very decent record. But it lacks sparkle. It lacks charisma and personality. [12 Nov 2012, p.52]

Separated from the narrative and visuals it's designed around, the music emanates an isolated, dissociated air, but that only adds to its jarring overall effect. [3 Dec 2012, 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.

Somewhat surprisingly, it lacks some of the droning, distorted fuzz of yore. [21 Jul 2012, p.53]

Twelve years puts the emotion back into emo. [5 May 2012, p.54]

It's diverting stuff, even for those who don't have even the vaguest idea of the plot. [29 Sep 2018, p.55]

It's not a "big" listen, and there are no killer tunes, but seeking such obvious moments would be missing the point. [16 Jul 2016, p.52]

Some people may find this outdated, but it's an absolute treasure chest for slavish fans. [19 Jul 2014, p.53]

After a while the hell-raising wears thin, though, and Luke’s jugular-bulging yells start to sound indistinguishable between songs. But when the Nil’s no-holds-barred approach comes good, it’s glorious.

While Daemon is not without its evil edge, there's a bounciness to it that makes it an interesting and, oddly, occasionally fun listen. [2 Nov 2019, p.55]

Through the Wall plays more like a scrappy, occasionally impressive side project. [27 Oct 2018, p.55]

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.

Even in the absence of the drum machines and sonic complexity of old, Esben And The Witch have the capacity to be seriously trippy. [23 Aug 2014, p.53]

Melvins are occasionally awful, but at least the contrary sods are never dull. [27 Apr 2013, p.53]

It would be remiss not to point out that Iron Reagan are retreading familiar ground, but it would be churlish not to recognise that they do so with ferocious relish. [4 Feb 2017, p.52]

While it’s not a classic of the Corgan canon, it does feel like he’s enjoying himself immensely doing it. And we’re happy enough to hear that. [7 Dec 2019, p.53]

Despite the myth that Anvil simply can't make a decent song, Hope In Hell is actually good. [18 May 2013, p.53]

The reassuring thing about Self/Entitled is that NOFX are still gobby, snotty and obnoxious for punk's sake. [29 Sep 2012, p.54]

Trauma Factory’s straight-up rap moments are more hit-and-miss, with the likes of exile and upside down feeling coherent enough but lacking in bite, demonstrating how nothing,nowhere. sounds best when the musical backdrop is thicker and leans more into the heavier side of Joe’s sound.

This is unashamed brooding, biker rock. [28 Jul 2012, p.54]

It’s very pleasantly chill, but after a while it does start to get a touch samey. Still, for those looking for something with vibe firmly in place, as ever, Turnover deliver exactly what you’re looking for here.