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]