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]