Consistently hot, this should tide fans over until the next patrol arrives in, oh, 2016.

Calling the album a return to form does Skeletonwitch injustice, but the blackened thrashers definately sound rein quintet definitely sounds reinvigorated here.

Luckily, MLIW are excellent students and practitioners of the style [melodic post-hardcore that lurked on the outer edges of emo].

Aftershock is another worthy entry into Motörhead’s long discography, with 14 rollicking tracks of brawn, broads, and blazing riffs.

Is Survived By isn’t all pit-fodder; the cinematic-sounding “Non Fiction” showcases a mastery of dynamics that’s equally as impressive as the heavy stuff.

TDWP's "sufferings" are modern-metal fans' "glory."

As eccentric as these tracks are, most of them wind up in a familiar place, with clean vocals ascending to growly, thundery choruses.

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.

The record is exactly as advertised, despite three new members entering the lineup. Wrong has rarely sounded so right.

At times, this straightforward approach, along with a smoother production sound, strips the Massachusetts quartet of the nuanced breakdowns and guitar leads that made their previous material so captivating.

Our Own Masters delivers all the hairy, sweaty, twin-guitar insanity of their live shows, yet also contains some of their most unabashedly sophisticated moments.

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.

A welcome return.

The Migration seems to wander a bit more than 2011’s focused and phenomenal The Collective, losing some steam by the last few tracks.

No one delivers big, punch-in-the-face motifs better than Amon Amarth, and the Swedish melodic-death-metal titans have excelled themselves on their ninth studio album.

TesseracT’s real strength is that they focus on the whole instead of getting bogged down with the intricacy of the parts.

From the anthemic confidence of “Back in the Game” to the speed-metal boogie of “Hungry,” frontman Joel O’Keeffe rasps out memorable, bluesy melodies without sacrificing the AC/DC-inspired passion of 2007’s Runnin’ Wild.

As ever, frontman niVek ohGr manages to make his vocals just as laceratingly intense as the saturated distortion of the electronics, while the lyrics are as angry as they are eloquent.

In the end, Ultraviolet’s finest moments occur when Kylesa venture farthest from their proven strengths and step into the unknown.

Josh Homme and fellow Queens Troy Van Leeuwen, Dean Fertita, and Michael Shuman have gotten back on beam for the band’s first album in six years, apparently rediscovering the joys of creating robotic, riff-oriented hard-rock songs.

Suffice it to say, Tears on Tape is a sentimentally sweet, sonically stunning, and beautifully packaged album.

[Drowning Pool have] managed to produce consistently killer albums with an unmistakable sound. This continues with album No. 5.... The weakest songs here are the singles.

Ultimately these well-place segues are but a welcome respite from the pummeling power of the riff.

The band’s primary objective is to lift listeners off their feet and keep them floating, with only occasional handholds for stability.

It’s weird, it’s creepy, it’s unstable, but man, there’s art here, something that few bands can boast.

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 album] is their best in years, hitting upon just the right combination of melody, thrash, and hooks.

They sound utterly repellant, and it suits them perfectly.