It broadens and deepens the story that began with that album [Sex, Death & The Infinite Void], acting as a requiem to the alien character of Roe. ... It’s simply eight tracks of lovely, rousing rock opera. Whether you’re after one, the other, or both, you’re sure to be left more than satisfied.

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

It’s a record influenced by Sabbath and Sleep, Power Trip and Pantera – and it shows through proudly.

Hideaway could perhaps have done with a few more leftfield moments, then, because while it’s breezy and over before you know it, that’s largely because the majority of it is in one sedate speed setting.

Calm and collected when it needs to be but by no means lacking in heart and passion, this album is a fine collection of songs by an artist intent on forging her own path.

It’s a joyous riot from start to finish, and all comes together to form a loveable, middle-fingers-up record that furthers the recent work of bands like Dream Nails, Drones and Nova Twins in demonstrating the strength of modern UK punk.

On the whole, they should definitely be commended for their ambition in mixing things up at this stage of the game, the result making for a compelling, quite fascinating collection.

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.

Atreyu’s act of streamlining has sanded many of their edges clean off, leading to moments that sound like they’ve been made by anyone but the actual authors.

This incarnation of Fear Factory is bowing out with a tense, aggressive and satisfying final act. There are exactly zero signs of them adopting fresh approaches, but dissing them for this is like criticising chocolate for continuing to taste chocolatey.

Here, remastered, it sounds even huger than ever. And on the bonus North American Tour Live ​’75 discs, the power of these songs live is captured in all its steamrolling glory.

You can’t help but feel that some creative tension and idea-bouncing in there might have led to some more invention and exploration in the album’s midsection. Nevertheless, though, this is still an impeccably delivered slab of hard rock fun.

The band’s desire to suffuse their sound with new tones and textures is admirable and frequently pays dividends, but there are moments when that drive to evolve leads them to either cleave too close to other bands or stray too far from their own fundamentals.

No Gods No Masters is one of the coolest, most vital releases of 2021, let alone one by a band some 30 years and seven albums into their career. Listen and learn.

BUMMER is an album where cleopatrick excel more than they struggle. Their sound could do with a little streamlining, but for a debut LP, this is a bold and at times very enjoyable effort.

There’s still a lot that will be familiar to longtime fans, but the most impressive thing is how passionate Rise Against remain. Twenty years in, and their revolutionary fire is still as relevant and as sadly needed as ever.

As much as the impressive company, what stands out on this compilation is the undimmed volatility of these songs, waiting to be set off.

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.

There are times on Scaled And Icy where things just feel a little safe. Overall, though, Scaled And Icy is a good record which balances out the occasional underwhelming moment with flashes of brilliance that could only come from its creators.

For the first time in too long, it is a Weezer record that rocks exactly how a Weezer record should.

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.

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.

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.

This is an important album, not only because it extends Gojira’s palette and cements their place as one of metal’s most skilled and uncompromising bands. They’re also one of the most inspiring as they call for strength, for action and above all for fortitude.

There’s nothing on here quite as catchy as Tiny from Give A Glimpse Of What Yer Not, but that may well be because this is a more consistent effort, an album full of highlights that reminds us that being ​‘lovely’ and ​‘loud’ aren’t mutually exclusive qualities, while furthering one of the most consistent catalogues in rock.

Greta Van Fleet aren’t offering anything innovative or original, and much of their appeal surely comes from listeners’ appetite for simpler times of players plugging in and rocking out which will never truly be rekindled. Hand yourself over to a psychedelic song of praise like Trip The Light Fantastic, though, or fall into The Weight Of Dreams’ fathomless nine minutes, and this legitimately might be the next best thing.

Violence Unimagined sounds exactly as you imagine it will, but still surprises in just how much Cannibal Corpse have left in the tank.

That’s not say it’s unlistenable, far from it. In fact, it’s addictive to see where the record goes next. While most hardcore bands are adamant about getting heavier, The Armed are going poppier and, ultimately, weirder, often in the space of one verse. ... Sure, it’s not something you’re going to dip in and out of on a whim, but when you’re in, you won’t want to leave.