Pinkerton still stands tall as a modern rock classic. [6 Nov 2010, p.51]

The 16 songs that comprise these two albums [Led Zeppelin IV and Houses Of The Holy] remaining blinding and deafening examples of strident, courageous music. [18 Oct 2014, p.54]

It's a record you'll return to again and again, such is the strength of the songs. [5 Mar 2016, p.50]

It's an often staggering record, by a great band, defying odds, on a hell of a run of first-lass creative form. [4 May 2013, p.52]

This mega reissue brings together just about all the Vol 4 one could ever need. ... The Steven Wilson remixes are superb, a collection of alternative versions of the songs that are worth it for the curiosity factor alone. ... As for the live stuff, the band are simply on fire, heavy as hell, and completely in the zone throughout.

A genuinely life-changing record. [3 Dec 2011, p.50]

This is a modern metal classic. [8 Nov 2014, p.52]

From the embryonic ideas to the songs' live debuts, it's the ultimate insight into the birth of a world-conquering classic. [11 Nov 2017, p.52]

It's an utterly loveable album which truly says more in those 13 minutes than some bands manage in entire careers. [19 May 2012, p.54]

The bonus material could've included more B-sides and fewer half-formed demos, but that's a niggle: the 28 tracks here still sound fantastic. [25 Oct 2014, p.54]

Their debut has hooks sharper than new scissors. [10 Sep 2016, p.52]

This remastered package in all its various formats is worth buying for the absolute bonanza of extra stuff include wit it. ... At the cene of it all still sit 12 of the most charged, arrogant, piss-and-vinegar songs ever written, perfectly captured, and played by a gang of reprobates genuinely out to take on the entire world. [23 Jun 2108, p.54]

While Eternal Forward Motion is most definitely a record that sounds like it would spit in your face before punching you, this isn’t simply moping around. These lyrics have a very real meaning, written for the voiceless millions of disenfranchised youths, growing up into a shitshow of someone else’s making. [11 May 2019, p.53]

This is a weird, unconventional and utterly thrilling classic. [29 Sep 2012, p.53]

Already an essential document to one of rock's most exciting periods, the heartbreaking poignancy these bonus tracks add now make it even more so. [3 Jun 2017, p.52]

On the evidence of their third full-length, this Scranton four-piece posses not one, but two examples [of good lyricists]. [19 Feb 2012, p.50]

It's intoxicating stuff. [2 Nov 2019, p.54]

Supernova basks in its own raw originality and kicks any naysayers to the curb with its unforgettable impact.

It's not for the light-hearted, but Deafheaven have delivered a deranged, damaged, majestic treat here. [8 Jun 2013, p.54]

Staggering third album GLOW ON changes the game once again. Upping the experimentation and layering on unprecedented emotional textures, its mixtape-alike 35-minute sprawl is more intricate, engaging and ambitious while feeling simultaneously even further laid back.

The stunning Sweet Dreams Of Otherness is a burning behemoth of raging psychedelia – think Wade’s Dooms Children project on steroids and turned up to 11 – while Sans Soleil is a gorgeous, almost proggy anthem about overcoming an episode of depressive self-loathing that’s as poignant as it is powerful.

Every Time I Die have just released one of the most essential records of 2014. [5 Jul 2014, p.52]

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]

Time Will Die is a hugely satisfying listen, with the longer songs in particular allowing the band free rein to indulge every experimental urge. ... This album sounds like a multi-part epic made up entirely of multi-part epics. And also, undoubtedly, like a career high. [3 Mar 2018, p.50]

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.

This is a very reflective record that refuses to exist only on one level, and though it's a cliche to say it, the more you put into it, the more you'll get out of it. [1 Feb 2014, p.52]

Knocked Loose are at the head of the pack. Throw all the hype and viral Coachella moments around you want, it’s the music that matters, and this isn’t just their best record yet, it’s one of the best albums of the year. And somehow, it feels like they’re only just getting started.

It's the essential elegy of everything that was and a moving reminder of all that could have been. [26 Nov 2016, p.53]

While Unto The Locust has much within it that will appeal to unreconstructed customers, parts of this work showcase a unit whose creative appetites are still restless and free.

Deconstructive, deliberate and exquisitely designed, The Myth Of The Happily Ever After is the sound of a world-class band making truly world-class music. The only thing more exciting than every bar of its 11 songs is the promise of where Biffy Clyro might go next.

Blood Incantation have created a contender for death metal album of the year here.

Admirably aiming high when so many seem content to play it safe and follow the footsteps of their peers, this a wonderful rollercoaster of a record that puts Creeper way out on their own. It wears its palpable love of music and art with a glossy pride and it deserves an audience that’ll cherish and unpack its layers for a long time to come.

By trying to annihilate what's gone before and truly raise themselves higher, they've created a special record, with a depth that will still have you under its spell a decade from now. [15 Jun 2019, p.53]

Here, The Wonder Years have grown into the rarest of bands: one whose meanings accumulate between songs.... There's so, so much to hear this time around. [22 Aug 2015, p.50]

This, album number eight, is ample reward for anyone who kept the faith. [17 Jan 2015, p.53]

Wolverines is a masterclass in quality pop-punk. [15 Mar 2014, p.53]

With The Black, Asking Alexandria have made the album that they've always wanted to make. Which also happens to be the album fans have always wanted to hear. [19 Mar 2016, p.66]

Being so musically and thematically rich, GLUE will be a lot of things to a lot of people, and therefore act as an enduring monument to being young and looking ahead in a world that doesn’t always seem to have, or want, a future. This is an album that simultaneously makes you sad and glad to be alive. Treasure it. Use it.

An album that's by turns gut-wrenching, hauntingly desolate and emotionally devastating. [3 Nov 2018, p.57]

Across a stirring nine-song sprawl, they showcase enough pulsating purpose, and fresh folds of their rich Gothic influence, to prove there’s still plenty to be drawn from that deep well.

The entire effort is catchy, feel-good and quite simply, pop-punk at its finest. [12 Oct 2013, p.52]

Five years since the release of All We Love We Leave Behind, you could argue this is more of the same and just another Converge album. Pitted against the best of the band's catalogue, though, this one holds its own. [4 Nov 2017, p.50]

It is by turns beautiful and brash, driven and divine. [18 Mar 2017, p.50]

If life is still depicted largely as a struggle against despair, these songs nevertheless suggest that small moments of happiness can be found amongst the darkness. If the message of No Joy is ultimately one of perseverance, it’s fitting that this is an album which seems set to grant its creators a new lease of life.

Only one [band] could still sound this savage 15 albums in. [17 Jan 2015, p.53]

The result is an album which is remarkable on every level.

Words such as gorgeous, intricate, haunting, and even magnificent are easily applied across all 10 tracks here. [6 Oct 2012, p.54]

This is punk at its most multifaceted and emotional, overflowing with desire and angst.

The Liverpudlian quartet have every reason to be overloaded with strident self-belief, but the striking vibrancy and surging energy with which they translate it to these 12 tracks is utterly remarkable.

20 years since their debut, Slipknot are as bold, fearless and exhilarating as ever.

If this is, indeed, the end, it’s a wonderful and profound way with which to say goodbye. It would, however, be a great shame if this was the last we ever hear from Aaron West, because this is more than an album. It’s an actual life.

The Mindsweep is the most enjoyable album Enter Shikari have ever made. [3 Jan 2015, p.52]

Sanguivore may well be Creeper in their ultimate form, and by embracing their biggest, most bombastic sound ever, they’ve created black magic.

Swans are a feast of musical riches, and To Be Kind is kind of essential. [10 May 2014, p.54]

Impassioned and intense, packed with killer riffs, compressed, barely-controlled energy and a driving sense of momentum. [19 Oct 2019, p.53]

The heaviest moments are breathtakingly aggressive. [26 Oct 2013, p.55]

The push-pull between fragile piano and ruptures of psychic static is arresting, but by far Kristin’s most captivating weapon is her voice. ... It’s an awesome work of extreme beauty and brutality that will leave you speechless.

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

A staggering statement of endurance, diversity and sheer unbending power. Bow down to the kings.

With Tony’s smooth voice the perfect accompaniment to all of this, Genghis Tron Version 2.0 makes for one of the most exciting returns to action in recent years, and with Dream Weapon they have only cemented their enviable legacy.

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

By stabbing in the dark and boldly going where they've never gone before, they've made something genuinely great. [12 Sep 2015, p.48]

By channeling everyone from Sonic Youth to Alice In Chains, Milk Teeth's debut hits with the power of a dozen brilliant bands at once. [23 Jan 2016, p.51]

This is perversely life-affirming stuff, translating misery into triumph once again. [23 Aug 2014, p.54]

You've got a positively enchanting album, from what's easily the best new band of 2014. [1 Nov 2014, p.54]

All We Love We Leave Behind will sit alongside the very best. [6 Oct 2012, p.53]

This album announces IDLES as one of the most exhilarating and necessary punk bands of right now. [8 Sep 2018, p.53]

For a serious Pumpkins fan, this is a gold mine. [15 Dec 2012, p.49]

After a decade-plus of no small creative achievement, Thursday have outdone themselves. [9 Apr 2011, p.51]

This time, La Dispute prove that less is definitely more. [15 Mar 2014, p.54]

I Loved You At Your Darkest offers conclusive proof that their Satanic majesty remains intact, even as they embark on their most ambitious artistic expression to date. [6 Oct 2018, p.53]

These are great songs. And this doesn't sound like a band with no road left to walk down. [26 Aug 2017, p.50]

The Wonder years have not only delivered a genuinely great pop-punk record but a genuinely great record, period. [8 Oct 2011, p.50]

It's a bleak, nihilistic affair, but dynamic enough never to lose its focus. [25 Feb 2012, p.52]

Kodama is one of 2016's most arresting releases. [15 Oct 2016, p.53]

A truly first-class record and establishing their place art the top-tier of the genre. Its choruses are huge, its lyrics are every bit as chant-able as they are poignant, its energy is relentless. [15 Apr 2017, p.52]

A trip worth taking, over and over again.

Congregation leaves off with an air of strength. On one level, from overwhelming darkness, they’ve wrenched a set of songs that are not only vitally relevant in the here and now, but which will stand the test of time. On another, it’s clear that Witch Fever’s journey is just beginning.

The result is an EP of razor-sharp, barrel-chested, muscular pop-punk that no-one--repeat: no-one--does better. [9 Aug 2014, p.54]

These songs gleam like freshly polished diamonds. [ 23 Jun 2012, p.53]

The 10 blasts of raging hardcore, death metal and stomach acid they vomit here are delivered with the worst of intentions. [4 Jun 2016, p.51]

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

For Deftones, finding the sweet spots between compromise and balance, factoring in each member’s duties and creative inputs may be a more appropriate way of assessing the delicacy of the task at hand. It’s within that push and pull, that the aptly-named, tension-charged Ohms proves itself a fascinating entry into the band’s canon.

This blend of grace and discord never feels jarring, combining to produce an immersive, transcendental whole which reveals the true breadth of this duo's impressive artistry. [Sep 2011, p.51]

Touche are still gonna pull at heartstrings, but now they'll suffocate and strangle you with them, too. [21 Sep 2013, p.53]

Forever is sufficiently overloaded with both information and mystique to keep you coming back, well, forever. [28 Jan 2017, p.50]

While the album ends quietly, with Kamikaze and the subtly moving It Floated, it’s that sense of fun that burns brightest in its aftermath.

Remastered, here, and packaged alongside demos, radio sessions, alternative mixes and a live DVD, it shows the breadth of the band's early ambitions. [3 Dec 2011, p.50]

Rage Against The Machine's debut is still a record that would shock and shake foundations were it released today. [1 Dec 2012, p .48]

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]

A wonderful rewarding journey. [15 Apr 2017, p.50]

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.

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

Metal may have become more extreme in Carcass' absence, but they still take 90 percent of the pack to (medical) school. [7 Sep 2013, p.51]

It helps the record sounds amazing. [6 Jul 2013, p.52]

Neck Deep are the most fully formed British rock band to rise to prominence in ages. And in Life's Not Out To Get You they haven't as much made a record as created a world. [15 Aug 2015, p.50]

Reiði is an album that's as difficult to get the measure of at first as its title is to pronounce. But, like any journey worth taking, it's one that rewards involvement and ceaseless exploration. [17 Mar 2018, p.54]

It’s okay to not be okay, and Spanish Love Songs celebrate that with no small amount of knowing grouchiness here. The result is an album that’s not perfect – but those who get it will fall in love with it.