On their eighth album, the breadth of Godflesh’s influences are wider than ever, and their capacity for psychological excavation runs deeper.

Transcending genre, Interiors is Quicksand in 2017, a time where no one is quite sure if we’ve moved backward.

The band still maintain their status as leaders. Frontman Jacob Bannon is physically incapable of phoning in his performances, and always ready to bring the fear. Kurt Ballou’s guitar work is a joy to experience, whether he's carpal tunneling through downstrokes, picking out lyrical phrases to frame Bannon's ominous moments (“Thousands Of Miles Between Us”) or bringing the straight-up noise like a hateful glass-bomb explosion ("Under Duress").

Beyond the necessity, Birdie is a record that teeters an indie/emo line with ease and a sense of hybridity. Press “play” for a sense of melancholic calm.

The 79-minute runtime will undoubtedly turn some casual listeners off, but those patient enough to stick it out until the end are in for the Used’s most soul-wrenching, creatively daring effort to date.

There’s an elegance to her music that wasn’t there before--a sudden bright piano riff over deep guitar; a harrowing, shouted acapella--that feels like a coming of age.

As a collective work, Pacific Daydream is ultimately a step below the resurgent greatness of the White Album, but it still soundly ranks in the upper tier of Weezer’s new-millennium output. It’s peppered with some of the band’s best songs in recent memory.

The Blood Of Gods strips away unnecessary studio wizardry and presents GWAR in its rawest sonic state, opting for a rough-and-tumble attitude. Nearly every beat and riff on the record screams for listeners to pay attention.

An impressive and diverse follow-up to an already-impressive debut.

It would have been incredibly easy for them to rest on their laurels and placate the faithful. Instead, they took a huge creative risk, pushing the idea of what--and who--they are as a band while still retaining their identity. And damn, does it sound good.

If you fancy darkness, BDM have upgraded their harrowing sound to embody the concept completely. Tracks like “Matriarch” will remind you what got you into melodic death metal in the first place, while “Jars” and “As Good As Dead” put the band’s diverse influences on display.

Sonically, there’s something incredibly otherworldy and fantastical rooted in Phantom Anthem, making the album translate like an epic poem rather than a collection of songs, both enticing for its cohesion and at times tedious in its redundancy.

There are minor lulls here, but enough highs to majorly please.

Manson is keeping things exciting and crucial the only way rock’s long-running antihero can. Pro Tip: Listen on headphones, where his unadorned, chilling stalker-esque asides will make your bladder flex.

Gossip succeeds in delivering an inspirational array of tracks that, as a whole, are a natural progression (and successful foray) into the mainstream.

This Detroit outfit have restrained their post-punk intentions somewhat, playing with more textured compositions rather than blunt assault of their earlier material. This proves to be the perfect swirling yet steady backdrop for frontman Joe Casey to spin his cheap beer-fueled freeform yarns of lost souls and tortured romantics. [Oct 2017, p.83]

Circa just sound oddly restrained, in a way, and the most enthralling moments don’t feel quite as emotionally resonant or grabbing as the band’s been so capable of in the past, especially with a slower pace down the stretch. That said, an average Circa Survive album is still a cut above most anything out there, and their subtle yet ever-continuing evolution remains a compelling thing. [Oct 2017, p.81]

As expected, frontman/programmer Rou Reynolds remains urgent and vulnerable. [Oct 2017, p.81]

On their fierce third album, METZ have ratcheted their cacophony up high enough and still have it be considered rock music. [Oct 2017, p.81]

Bigger production values and more group playing than her previous piano/vocal introspection. Haines delivers urgency and depth without having to shear off her throat lining, and can convey vulnerability and uncertainty with a brave face. [Oct 2017, p.81]

Their music is tighter, sharper and aiming for the jugular in its first shot. In the simplest terms, the band crafted a record that fills the bigger venues they are sure to be playing now and in the future.

The quartet have delivered some of the most raw and willfully demented rock music to be vomited up in 2017, and Patton's inimitable contributions ensure that the crazy meter remains permanently in the red. [Aug 2017, p.82]

Manchester Orchestra are no strangers to reinvention, but this is a bold step. It’s a grower of a sound: folky yet enormous, like Fleet Foxes at their most widescreen, and with no immediate hooks (“The Gold” is close, though). When they do emerge, they’re not easy.

Ultimately, The Knife is proof he [John Feldmann] still has plenty left in his own songwriting tank. [Aug 2017, p.82]

It's proof that there's plenty of life left in its creators. [Aug 2017, p.83]

Here, retaking the signature spell that Hellion and crew first conjured in the ’90s Cleveland scene, the band’s haunted hardcore gets a fresh coat of paint for the next stage of darkness. If you’re ready to enter the nightmare, this will get you howling.

Bloom feels less like the work of a persona than an authentic attempt at sorting out a sometimes messy life--far from perfect, yet perfectly compelling.

In spite of the somewhat dour tone of this album, there’s plenty of musical depth and light to be found throughout.

Mostly, Hug Of Thunder feels like a sign of maturity to complement a more weathered and warm approach to songwriting that includes a lot of electronic pulses and skybound singalongs.

There’s something special about the lyrical content that proves relatable yet poignant and beautiful all at the same time, resonating with listeners through the band’s unique ability to take basic, everyday ideas and turn them into an imaginative work of art.

Reflection supplants rage on “The Witness Trees,” while “Song #3” is a heartfelt, hook-heavy paean to love’s salvation that’s among Stone Sour’s most pop-savvy moments. ... [frontman Corey Taylor] still spits out words heated enough to melt earbuds on ragers including the near-thrash kiss-off “Somebody Stole My Eyes” and the aptly, awesomely titled “Whiplash Pants.”

This long-awaited unveiling isn’t the easiest of listens, with consistently busy-sounding fare ranging from the manic, laser show hyperactive (“We’d Kill Each Other,” “I Need A Parasite”) all the way to slower and sultry new romantic nods (“Springtime Of Our New Love,” which could actually pass for the ’80s uncle to Glassjaw’s “Ape Dos Mil”). But it is definitely fun, and absolutely well-done.

“Without Any Words (Only Crying And Laughter)” harkens back to the magnificent Gun Club, while “This Life Is Old” will have Jack White wondering who the hell these guys are, anyway. Because Scogin and drummer Michael McClellan bring the noise in the most righteous ways. ... Two Parts Viper is the best record of the year.

There might be no other band working that so effortlessly transcends its myriad of influences, creating something authentically new, disturbing and beautiful. [Jul 2017, p.80]

They care not a whit about market share, EDM remixers or having annoying YouTube stars and/or rappers guest on their sessions, choosing instead to light up psychic votive candles for Joe Strummer, Desmond Dekker and Lemmy in order to capture the very same spirit those artists conjured all those decades ago.

You can hear that rage burning throughout this record’s 11 songs, most notably on “Mourning In Amerika,” “Welcome To The Breakdown” and the untamed aggression of “Bullshit,” on which frontman Tim McIlrath rails against the divisive politics that sadly led us to an orange man in the White House.

All four members are back in the fold and each one sounds like they're playing with purpose and energy. [Jul 2017, p.82]

Spin stacks up with just about anything in the Tigers Jaw canon, with melodic and memorable highlights with detailed flow and cohesion that invitingly solicits frequents listens. [Jun 2017, p.82]

None of these songs reach that lofty level [of Paul McCartney, Brian Wilson and Randy Newman], but fans of inward-looking popsmiths like Elliott Smith and Daniel Johnston (whose artwork gets a subtle nod through the graphics) will find some gentle little gems in this police department lost-and-found.

Goths is one of Darnielle and co.'s most daring and well-conceived feats. [Jun 2017, p.82]

Sure, this sound has been kicking around in various forms since the early 2000s Drive-Thru and Vagrant Records eras. But rarely has it been done so well.

This record neatly marries the attitude and energy first heard on Creatures with the industrial beats and vocals they love, making this record the truest representation of the band to date.

in•ter a•li•a isn’t about capturing a zeitgeist as much as it is about jumpstarting some urgency in a rock scene that desperately needs more wild abandon and psychic plasma.

Tracks like “Balance The Odds” and “No Love Lost” dip cautiously into the metal sphere, breaking the EP out of its more rigid beatdown vibe.

[Makes Me Sick] creates enough slight sonic diversions to give longtime fans something new to enjoy. [May 2017, p.82]

He's singing, not screaming, and the music is genuinely beautiful in a haunted, intensely withdrawn sort of way. [May 2017, p.82]

A brave and defiant effort. [May 2017, p.80]

More Scared Of You Than You Are Of Me has its foothold in classic punk and Billy Bragg;s fiery, rambling shout, but is presented in an egalitarian way that any modern punk or emo kid can get behind. [May 2017, p.82]

The album maintains a brilliant balance between uplifting and confessional, playful and serious. It's the most real, honest and self-aware record FIR have released to date. [May 2017, p.80]

Mastodon prove they keep moving ahead with this rewarding album. [May 2017, p.80]

Another solid addition to a nearly peerless discography. [May 2017, p.82]

Bitter basement anthems have never sounded this sweet. [Apr 2017, p.80]

Though highly polished, nothing comes across as cynical or contrived, and Mikey Chapman’s delivery has never been more heartfelt.

Nearly 30 years into their career, this is one of their hardest and heaviest albums. For younger death-metal bands, the message is clear: "Wait 'til your father gets home." [Apr 2017, p.82]

Eternity could easily be a musical score as much as it is a step forward for abrasive punk. [Apr 2017, p.80]

Sixteen-tear-old vocalist Lydia Night isn't afraid to speak her mind, and the members of the Regrettes match her gritty vocal delivery and feminist sentiments with raucous rock 'n' roll guitars coated with buzzy noise and distortion. [Feb 2017, p.80]

It's an album that holds nothing back. [Apr 2017, p.82]

This fifth full-length has everything fans expect from an Eisley record. [Mar 2017, p.82]

Avery's overall strengths are his lyrics and his delivery, where each song tells a story that you simply can't wait to hear. [Apr 2017, p.80]

A renewed sense of purpose exudes from every song, with an abundance of electronics playing nicely with their roiling guitar rock. [Apr 2017, p.80]

A fine bounce-back from the lackluster They Want My Soul, as they seemed to have found their attitude and swagger. The glitzy, moody atmosphere they conjure up is a hella good look. [Apr 2017, p.82]

These new hooks are just as sharp as you'd hope for. [Mar 2017, p.80]

Not only does the album overflow with stick-in-your-head hooks, but it also boasts contemporary production, from sleek digital programming to airy synthesizers, to go along with more traditional band-based instrumentation.

It showcases a wise and occasionally raw Hause sharpening his veteran punk chops into rousing and often smoothly melodic fare. [Mar 2017, p.82]

So it's not really that different, but it's still really good. [Mar 2017, p.82]

This is unapologetic alternative rock with a rainy day, late-night drive twist. [Mar 2017, p.80]

While they're not all winners, tracks like the lonesome, devastating "Shiver and Shake" prove Adams remains as powerfully evocative a songwriter as ever. [Mar 2017, p.80]

After the Party stacks up with the Menzingers' best material. [Mar 2017, p.82]

While on the surface its 12 tracks might seem less visceral than some of his previous work, they’re actually an incredibly powerful, important and thought-provoking glimpse of both his life and mind—and the state of the world at large.

The duo are branching out more than usual, finding themselves tougher, smarter and more tender all at once. [Feb 2017, p.80]

It's unnerving, exhilarating and surprising. [Feb 2017, p.80]

Epic-sounding and true to that signature AFI sound, AFI (The Blood Album) will be a record that stands out for hardcore fans, while picking up some new ones along the way. [Feb 2017, p.78]

Fans both old and new can crank this record 'til their ears bleed as Sepultura take a victory lap around the temple of the metal gods. [Feb 2017, p.82]

The British band's frothy, fun mix of samples from public domain educational films and their spunky electronic-infused art pop is taken to new heights on this live album. [Jan 2017, p.83]

Life Without Sound is rife with memorable hooks and earworms--and the substance to make them meaningful. [Feb 2017, p.80]

The result is a heavy batch of driving tunes worthy of each member's origin stories. [Feb 2017, p.80]

What remains on Night People is anthemic enough to keep people listening. [Feb 2017, p.82]

I See You [reveals] a more mature sound, one where the songwriting is top-notch and the intertwining vocals are more polished and mesmerizing than ever. [Feb 2017, p.82]

You'll blare Valuables on the car radio one moment, then throw it through headphones for study time later. [Jan 2017, p.83]

Not The Actual Events is everything we would expect from Reznor and Ross, offering textures we’ve never visited and contexts with conscience.

They're taking an experimental risk that pays off well. [Dec 2016, p.102]

Highly Suspect successfully avoid the dreaded sophomore slump.

What they did do was stick to their guns. And as the old guard of arena-filling hard rockers begin to diminish (physically, artistically), it’s good to know there’s someone dedicated to keeping the bar high.

AAL not only continue to cut through genre restrictions, but do so while considering song and structure. [Dec 2016, p.100]

A radical reinterpretation of the material that expands and adapts it using inspired improvisation and healthy doses of feedback. The songs are all the better for it, with added shades of emotion and fury oozing through every chord and squeal.

Page Hamilton and Co. show more growth than they have in nearly two decades. And damn, they still have it when it comes to riffs. [Dec 2016, p.102]

This is Sleigh Bells at their most adventurous. [Dec 2016, p.102]

CRX's only real mistake might be releasing a top-down record perfect for summer at the end if the year. [Dec 2016, p.100]

It is shattering and completely heartfelt. Iero has made a grand statement with Parachutes that should not be overlooked.

Dissociation might be the final stop on this journey, but in 10 years, it's also the first thing we'll point to when people ask why these guys are still relevant.

Transit Blues marks both Prada's sixth full-length album and an impressive step forward. [Nov 2016, p.87]

Slaves pull no punches with social and political commentary. But Take Control is also diverse and boasts sly British humor. [Nov 2016, p.90]

Really, punk doesn't get much better than this. [Nov 2016, p.90]

Joyce Manor successfully break through the quintessential sound of both pop and punk to beautifully curate a 10-track album that is a little weird, unabashedly intimate and all too relatable. [Nov 2016, p.90]

This set [is] their best yet. Every member's in fine form here. [Nov 2016, p.88]

They've made a graceful exit here. [Oct 2016, p.86]

Light We Made reveals a new sense of agency via Jon Simmons’ confident new vocal technique and experimentation with stronger electronic elements.

Radio also is the most intensely personal Green Day album in years; as much a celebration of life on the upside of 40 as it is a reminder of the choices, conflicts and contradictions that mark a life well-lived.