Despite throwing some creative curveballs into the mix, Vale feels very much like the rue follow-up to Wretched And Divine, and sees Black Veil Brides writing their own myth once more. [13 Jan 2018, p.50]

Patch The Sky continues a creative roll that's rarely slowed. [26 Mar 2016, p.52]

Welcome back, Four Year Strong. [6 Jun 2014, p.51]

Should be regarded as perhaps their finest album yet. [14 Jan 2017, p.51]

This is a record just as colourful as its creator’s hair (which is handy). And while rapping about Bill Gates, Elon Musk, The Office’s Michael Scott and members of One Direction in closer See You In The Future might prove one step too far for some, for everyone else it’s all just a part of the ride. Indeed, this is very weird shit. But it rules.

The Ghost Inside still smack like a wrecking ball. [16 Jun 2012, p.53]

Sometimes angry, regularly ferocious, occasionally beautiful. [8 Oct 2016, p.53]

That first album wasn't a one-off, and here The Temperance Movement have once again proved themselves masters of their craft. [2 Jan 2016, p.52]

Senjutsu is simultaneously more diverse than its predecessor but somehow manages to concentrate its punches. It’s the sound of a band that continues to strive when it’s already honed its craft to perfection.

It beautifully illustrates that bigness isn't always about loudness. [9 Mar 2013, p.52]

(Nasty) business as usual, then, from Anaal Nathrakh. [13 Oct 2012, p.54]

The result is jaw-dropping. [12 Jan 2013, p.52]

Murderous fantasy-fulfillment, it may be. But nobody does it better. [25 Mar 2017, p.50]

Despite the album name, there's not a not or part lacking with From Indian Lakes. [4 Oct 2014, p.53]

This is still a challenging listen that churns and rages exactly where it needs to. [30 May 2015, p.52]

Stories unfurl with an infectious nerdiness that undulates between giddy Boys’ Own exuberance and a museum curator’s painstaking attention to detail. [20 Jul 2019, p.57]

It’s testament to how thrilling Rivers Of Heresy is that by the time you reach at closing track The Looming, released, somewhat boldly, as the first single from the album, that its impact hasn’t been lessened.

The pairing makes more and more sense everytime you listen to it, perfectly rounding off 37 minutes of bubbling, stoned fuzz. [3 Feb 2018, p.52]

You'd listen to their brilliant third album and realise that they've beaten you to it (making a classic rock record). [21 Aug 2010, p.51]

The solos are absolutely enormous and are some of the most interesting song writing that they’ve produced to date.

Dear has generated a resurrection, or at least a strengthening of their life force; its creation inspired Boris to continue, turning what was supposed to be a goodbye into a forceful restating of this remarkable band's existence. [1 Jul 2017, p.50]

Grown men revisiting their youthful hijinks should be a terrible idea or, to borrow an FNM title, a midlife crisis. Instead, this record is an absolute rager, testament to both the original material and the present-day dedication of its lunatic creators.

Too late to be the sound of the summer, Beach Slang will instead warm your hearts all winter--and far beyond. [31 Oct 2015, p.54]

Depth, emotion and spirit seem to infuse everything. [20 Oct 2012, p.52]

Swirling, heady and claustrophobic at times, this is well worth further investigation. [21 Aug 2010, p.51]

Truly, so confident and perfectly measured are Royal Blood here that, while definitely focused on the stars, they sound like they never noticed the gutter was there in the first place. It’s rock’n’roll lit up by a disco ball.

Their rebellious spirit is intertwined with a sense of total, inspiring self-love and in creating that feeling of empowerment, Humble As The Sun feels revolutionary in a fresh new way.

Deficiencies are rare. When Never Let Me Go calls time on its 13 songs with the exquisitely constructed Fix Yourself, it does so in a manner befitting an album that is overwhelmingly a success.

They continue to blast out their post-punk hymns to the end of the world with a wild-eyed mania that's genuinely scary. [31 Oct 2015, p.54]

This is classic ATG with freshness and vigour to spare. [25 Oct 2014, p.54]

Songs that brood on record become grand and celebratory live and that's what captured here. [21 Aug 2010, p.52]

Think Jimmy eat World's last two albums and you'll get the general gist; an aching yet catchy anti-pop that tugs at the heartstrings while simultaneously making you want to dance. [12 Mar 2011, p.52]

As far as sludgy, frenzied noise rock is concerned, there are few who do it better than Melvins, and Working With God is tangible proof.

Only Iron Maiden know if this is their last hurrah. But if it is, they're going out the same way they came in: fearless, adventurous, and with a record that'll still bowl you over in a decade's time. [7 Aug 2010, p.50]

Some of the hookiest hooks and riffiest riff in his catalogue. [30 Apr 2016, p.67]

In the resultant dizzying whirl of kaleidoscopic guitars and life moving at 100 miles a minute, Culture Abuse sound right at home. [16 Jun 2018, p.58]

The rock'n'roll spirit is just as potent as the kind you get from a bottle in a sleazy LA watering hole. [19 Sep 2015, p.52]

They exude so much confidence, you wouldn't be surprised if they ran for president next year. [6 Jun 2015, p.52]

There's a lot going on, but once again Opeth have crafted something special here. [24 Sep 2016, p.51]

There's a quivering blues element to the sludgy stomp of Whether Terrified Or Unafraid, while elsewhere they twist the lo-fi fuzz into jarring alt.rock shapes, as Josh continues to serve up the deliciously unexpected. [10 Jun 2017, p.52]

Nightmare marks the point which the Huntington Beach crew put away childish things and became men. [24 Jul 2010, p.50]

The result is a superb, invigorated record that invites you to wake up, as they have done, in a brave, bold and beautiful new world.

What YONAKA have made here is one of 2019’s best breakthrough rock albums. Put simply, Don’t Wait ‘Til Tomorrow is the birth of a new band of rock stars. [25 may 2019, p.54]

It may have taken five years and three albums, but Circa Survive are finally living up to their potential, and Blue Sky Noise might just signal the start of something really interesting. [24 Jul 2010, p.51]

A set of excellent songs. It’s a cohesive, largely understated collection, too.

This sharper, steelier focus simply ensures that every aural blow is fatal. [24 May 2014, p.54]

While pulling no punches in discussing anxiety or uncertainty, their sparky indie punk still evokes sunny days and exhilarating nights. [16 Sep 2017, p.52]

It's a step forward lyrically and also musically. [29 Oct 2016, p.53]

Major/Minor is an unusually conventional and yet glorious statement from a band characterised by fearless experimentation and exquisite music. [24 Sep 2011, p.53]

As painful and draining Korn III undoubtedly must have been to create, there's no doubt that it re-asserts the quartet's status as one of metal's most innovative bands. [10 Jul 2010, p.50]

It is a bold, best foot forward tribute to where they've come from, what they are capable of and, perhaps most importantly, where they're going next. [28 Aug 2010, p.52]

High Crimes is both energetic and spontaneous. It sounds like its members had a ball making it, and that sense of unconstrained fun and creativity bleed through it brilliantly. [4 May 20129, p.53]

When Agalloch's majesty comes, the slow unfolding is more than worth the wait. [17 May 2014, p.53]

Chemical Miracle is as good as chlorine smell. [15 Oct 2016, p.52]

An epic adventure that is, in every single way, truly astonishing indeed. [16 Jan 2016, p.51]

Harmonicraft still brings the heft and thick cut distortion, but never wastes a single moment's breath on anything superfluous. [28 Apr 2012, p.53]

Not every single one of these 16 tracks is totally essentially considering their already-enormous discography, but anyone who wants less Every Time I Die is quite simply a fool – especially when the band are on such blistering form as they are here.

The Maine sound like a band who've finally found their happy place. [8 Jun 2013, p.54]

Razzmatazz comes at just the right time and it was well worth the wait. iDKHOW might not be changing the game exactly, but they’re packing the kind of addictive, dopamine-like qualities that’ll make you want to keep pumping coins into the slot for another hit, time and time again.

It's an epic journey, and one that both requires and repays immersion and patience. [14 Nov 2015, p.53]

While these songs may lack the same kind of energetic rage that defined the band in their early years, they're still a formidable way of exposing truths and holding the powers that be to account. [4 May 2019, p.55]

As an example of a band whose explosive energies are captured, rather than recorded, this is strong work. [1 Jun 2019, p.55]

Forming part of their 20th anniversary celebrations this year, this brilliant 18-track compilation may be missing some huge hits, but that's not to say that it doesn't hit home. Hard. [22 Jan 2011, p.51]

The 34-year-old may not quite have reached nirvana just yet, but in his personal quest for enlightenment he’s never sounded more optimistic about life’s possibilities. [26 Apr 2019, p.53]

Like Sabbath on an especially mellow day. [14 Nov 2015, p.52]

American Slang stands on its own two feet with eyes fixed on new horizons, its chief architect focused less on history, more on his story, as he tries to make sense of new realities after his world has been turned upside down. [12 Jun 2010, p.50]

Brilliant: like all the best bands in the world playing through one broken amp at maximum volume. [3 Nov 2012, p.53]

This is a album that sees the band right back to their best. [21 Jan 2012, p.53]

A quiet but definite triumph. [9 Jul 2011, p.51]

Turn Up That Dial won’t dethrone 2005’s career-defining The Warrior’s Code, but it’s a welcome hug from a collective who are, as ever, the best of men.

It’s never derivative, nostalgic, or trying to be anything that it’s not. It’s a PVRIS album, packing in every quality that she’s built that name upon, while powered by a subtle forward motion. That every idea and sound heard is hers and she can finally, proudly take sole credit for that is to be celebrated.

A truly riveting record from explosive start to crushing finish. [9 Jul 2011, p.52]

It's a soft, frail album Jimmy Eat World have here, but one that hits right in the feels. Hard. [29 Oct 2016, p.51]

High-wire riffs toe the kine between noise and pop, while Patrick's sprayed observations are kerosene on this already combustible mix. [10 Nov 2018, p.55

Hot Sauce is a B-Boy bouillabaisse that manages to be both familiar yet adventurous, varied yet seemless. [7 May 2011, p.51]

Twenty years and counting, Pearl Jam are still the kings. [Sept 17 2011, p.51]

Every sludgy melody feels painstakingly sweated over; every battering arrangement feels scientifically measured out. [4 Oct 2014, p.54]

An uncompromising debut--hard, nasty and the perfect sonic poison for 2017. [29 Apr 2017, p.51]

It's really no gamble to suggest that over 31 magical minutes, Rival Sons have delivered the finest classic rock debut of the year. [25 Jun 2011, p.52]

In all the ways that matter, this solidifies their status as a collective still expanding upon their legacy, rather than resting on it.

While the heat lessens toward the end, this fine return possibly betters their acclaimed debut. [11 Jun 2011, p.51]

As ever, The Wonder Years remain the best in their class. They remain as musically smart, emotionally intelligent, and reassuringly bullshit-free as ever.

One listen to The Computers' latest album will show you how much they've grown since the aggro punk 'n' roll of 2008's You Can't Hide From The Computers. [27 Apr 2013, p.54]

Leaps and bounds ahead of their excellent M debut, Mareridt is ambitious, accomplished, and beautifully ugly. [16 Sep 2017, p.53]

It’s hard not to have fun when every track here feels suitably like its own adventure, and impressively still, BABYMETAL sound like they’ve been steering the ship through these parallel universes not for the first time, but for years.

They've taken things into a place where that barbed-wire charm takes a backseat to sounding absolutely enormous. [4 Jun 2016, p.53]

This is an album that’s compelling and will leave you hanging onto your headphones to see what’s coming next.

Musically, TANGK finds IDLES’ style rejuvenated, with drum patterns drawing from soul, techno and hip hop. The sparse beats and ominous background hums of POP POP POP are reminiscent of Radiohead’s Kid A.

Expect this to crop up on more than a few album-of-the-year lists. [4 Jun 2016, p.52]

This one is a masterclass in delivering musical precision with an undercarriage of scuzz and tension. The likes of Tattoos and Days Are Dogs retain the minimalist vision that has coursed through Shellac since their earliest releases.

Though there's no radical change to his formula here, crucially, the consistent brilliance on display means there's no need for one. [4 Jun 2011, p.52]

Despite being recorded at various times between 1992 and 2015 the 11 tracks here gel together like any other Motorhead album. [2 Sep 2017, p.52]

This seventh record still offers plenty for those who want an aural assault. [30 Aug 2014, p.51]

It really is impossible to pick fault with the record, every track playing its part, and further cementing their legend.

Resurrection is a powerhouse of a record, the brave onward steps of New Found Glory proving that hope--like pop-punk--is not dead. [11 Oct 2014, p.52]

Throughout, DevilDriver are taut, tight and tenacious.

it's all so brilliantly done, such a massive, shiny rush of excitement, joy and fuzzy-feelings that you can't help but love it. [14 Jun 2014, p.54]

It's consistently excellent, showcasing the band's trademark riffy and psychedelic sides. [13 Sep 2014, p.53]