While the album will please the band's fans, it doesn't stand out from similar releases in the subgenre today. [Jul/Aug 2011, p.92]

For all its polish and sonic approachability, this is no sell-out record. Rescue may go down easy, but at the album's core, it's still an appealingly bitter pill.

The heshers who crave this Viking death-march death-metal will have it, and those who aren't inspired by what they stream on the internet won't. Even with a lesser work, Amon Amarth have done their job.

While her vocals alone are unlikely to gain Within Temptation too many new listeners, fans who have stuck with the band throughout their career will likely forgive The Unforgiving's occasional missteps.

The bottom line: Emery may have done what they wanted, but that doesn't mean that listeners will want the result-at least, not all of it.

Rather than pat themselves on the back for still being alive, the guys in Soundgarden went on a nostalgia trip, and honestly, it's for the best.

For all of its ferocity and force, though, Scurrilous is a surprisingly pleasant listen, in part due to frontman Rody Walker's high-pitched melodic vocals which belie the aggressiveness of the blistering guitars. Recommended, definitely. Diverse and innovative, definitely not.

While the sound may flirt with alt-rock and electronica, the underlying sensibility is prog like BTBAM, in its melodic complexity and lyrical depth. Mar/Apr 2011, p.92]

By-the-numbers breakdowns, tired metalcore riffing, and cliched lyrics are still very much part of the group's formula. It's too bad since the band has plenty of energy and ambition. [Nov/Dec 2010, p.94]

Interesting, but hardly the band that made Meantime. [Sep/Oct 2010, p.90]

Having tasted success, it's not surprising that most of the vocal tracks on 7th Symphony are decidedly commercial. Almost to counter that, however, Apocalyptica's instrumental pieces are among their heaviest and most grandiose yet. [Sep/Oct 2010, p.90]

In resurrecting their original sound, Filter get caught up in the same monotonous industrial atmosphere that kept Short Bus from being an essential album. [Sep/Oct 2010, p.92]

Nothing here grabs you as immediately as "Bring Me To Life" did. Still, the group's pummeling disco-grunge version of "Like A Prayer?" Totally awesome. [May/Jun 2010, p.100]

The Constant is best when going fast and loud, keeping your heart racing (and your mind off the subpar lyrics), but it loses momentum with cookie cutter ballad "holding On To You and a track, "Remember A Time," that oddly sounds more like Weezer than Warped Tour. [Mar/Apr 2010, p.92]

While Lions roars with all of the classic rock bombast and Stones-y swagger we've come to expect from the Crowes, the album is sorely lacking in the magic that can only be achieved when the innately talented drive themselves to distraction in the pursuit of perfection. [May/June 2001, p.110]

Despite some high points, this is hardly the definitive live Springsteen album. [May/June 2001, p.116]

This collaborative overkill is the same misstep that hobbled the group's last comeback attempt, 1993's Down With The King. [#4, p.108]