All in all, the record perfectly captures the band live–which, as anyone who saw them on this summer’s Mayhem Fest knows, is an experience in itself.

Royal Thunder display a soulful sonic acumen that's as dynamic as it is compelling.

For all their masks and uniforms, the emotions at the heart of Slipknot’s music have always been real and raw, and as they--and the audience that’s grown up with them--have no doubt discovered, the youthful angst that fired their early records has nothing on the grim realities of adulthood. From that deep well of pain, another great Slipknot record has emerged.

If bong-rattling stoner doom is your cup of flayed meat, you won’t want to miss this demonic feast.

Malkmus remains up to his usual trickery, packing the proceedings with musical plot twists like false starts, abrupt fades, and fake codas. [#4, p.106]

Chalk up a new classic on Abruscato's resume.

Sometimes it sounds like someone grafted the Who's Live at Leeds and the first Minor Threat EP together. Yes, it's that good. [#2, p.103]

Musically, AOI melds the compufunk of 'Stakes' with the soulystics of the trio's earlier work, adding in a healthy supply of guitar twang to boot. [#2, p.109]

Stankonia lays bare the group's desire to be something greater than just rap stars. No two tracks sound alike, and they've taken time in the woodshed to pen rhymes that are even more dexterous and honest than their past work--no mean feat. [#3, p.107]

Five albums in to an unexpected late-career burst of greatness, grindcore pioneers Napalm Death have done it again with this awesomely titled album.

August Burns Red have set their own bar even higher on Leveler, and have done so for all of their scene in the process. The album is certainly among the most memorable releases so far this year.

Although it's been a full decade since their last release, United by Fate, Rival Schools don't miss a beat on this reunion disc. [Mar/Apr 2011, p. 88]

Backed by a bevy of sublime, aggravated tracks, G.O.A.T. is L.L.'s most aggressive, rhyme-centric effort since Radio. [#2, p.112]

As sonically beautiful an album as R.E.M. has made. [May/June 2001, p.114]

Unto the Locust isn't just a great album, it's an important statement that metal doesn't have to fall into trite categories or draw from pre-existing formulas to be accessible.

Touché Amoré’s music has always been intensely autobiographical and that introspection has reached peak levels on its fourth full-length, Stage Four.

X (No Absolutes) is charged with brawn and brains--thrashy dynamics, chunky grooves, ferocious metal energy, and Tommy Victor’s sharp-tongued socio-political observations.

Fire From the Sky is suitably heavy, grim but not ridiculous, and its best songs will remind listeners of Metallica.

It's a surprising, thoroughly consistent return-to-form, and it makes Oddfellows the first contender for hard-rock album of the year.

Nu-metal survivors Papa Roach's sixth full-length is an exhilarating return to form.

Kylesa nods toward their feral past as choruses make muscular concessions to hardcore floor-punches. But other tracks are their artiest and dreamiest yet. [Nov/Dec 2010, p.96]

This is music at a slow simmer, not a fast boil, and as such, takes time and patience to absorb. But the passion and intensity is undeniable.

These five tracks bridge the gap between pop punk and melodic hardcore in a way that’s so infectious that you’ll be too busy singing along to notice.

Guest appearances from Gojira’s Joe Duplantier and Subrosa violinists Sarah Pendleton and Kim Pack add extra nuance to an already dense masterpiece.

Aptly named Queensrÿche, just like the band’s debut was titled 30 years ago, this album is a fresh new beginning of a revamped lineup that we will likely be hearing from for years to come.

Packed with epic melodies, searing solos, and medieval horror imagery, Forever Abomination totally rocks, aided by (finally for these guys!) a perfect production sound.

With this latest (featuring the return of New Found Glory’s Chad Gilbert on vocals), they prove it all still works in a big way, a sign that they’ve been doing it right all along.

The lyrics are in a combination of Danish, Norwegian and Icelandic, so it’s anyone’s guess what Bruun is talking about. Luckily,the music speaks for itself.