While her vocals alone are unlikely to gain Within Temptation too many new listeners, fans who have stuck with the band throughout their career will likely forgive The Unforgiving's occasional missteps.

The bottom line: Emery may have done what they wanted, but that doesn't mean that listeners will want the result-at least, not all of it.

Rather than pat themselves on the back for still being alive, the guys in Soundgarden went on a nostalgia trip, and honestly, it's for the best.

In all, Live at the Aragon has plenty for both old and new Mastodon fans to enjoy.

For all of its ferocity and force, though, Scurrilous is a surprisingly pleasant listen, in part due to frontman Rody Walker's high-pitched melodic vocals which belie the aggressiveness of the blistering guitars. Recommended, definitely. Diverse and innovative, definitely not.

Even at its worst, Darker Handcraft rips harder than almost anything else that has come out this year so far. And for that, it deserves any metal, hardcore, or punk fans' attention.

While the sound may flirt with alt-rock and electronica, the underlying sensibility is prog like BTBAM, in its melodic complexity and lyrical depth. Mar/Apr 2011, p.92]

From start to finish, Beast is a return to form for DevilDriver, delivering their patented mix of pummeling and soaring melodic death metal soaked in a healthy vat of groove.

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]

Nestled among these dozen tracks, though, is also some of the band's handsomest, most expansive music yet. [Mar/Apr 2011, p.88]

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]

The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels. [Nov/Dec 2010, p.98]

Instead of Meanderthal's rich sonics and expansive melodies, Torche about-faces into bracing, aggressive cuts like "Cast into Unknown" and "U.F.O." and even though "Out Again" delves into sludgy pop, it's done in such a lackadaisical fashion that's it;s clear that Brooks' heart is more in the faster, louder numbers. [Sep/Oct 2010, p.90]

For all of Recitiation's slow burners, ferocious cuts like "Pieces Of The Moon..." and Worm Heels..." go hard from start to finish, revisiting the band's hardcore roots. [Nov/Dec 2010, p.98]

By-the-numbers breakdowns, tired metalcore riffing, and cliched lyrics are still very much part of the group's formula. It's too bad since the band has plenty of energy and ambition. [Nov/Dec 2010, p.94]

Removed from the usual metal trappings to ride Imperfect Harmonies' lofty, trippy soundscapes, Tankian's lyrics carry surprising poetic weight. [Sep/Oct 2010, p.87]

Interesting, but hardly the band that made Meantime. [Sep/Oct 2010, p.90]

Warp Riders staunchly maintains the stoner doom, chugging trash, and ruminating psychedelia that marked the four-piece's 2006 debut, Age Of Winters. Yet the boogie-rock feel of "Tres Brujas" and "Lawless Lands" diversifies their songs, recalling pre-Eliminator ZZ Top. [Jul/Aug 2010, p.88]

Having tasted success, it's not surprising that most of the vocal tracks on 7th Symphony are decidedly commercial. Almost to counter that, however, Apocalyptica's instrumental pieces are among their heaviest and most grandiose yet. [Sep/Oct 2010, p.90]

In resurrecting their original sound, Filter get caught up in the same monotonous industrial atmosphere that kept Short Bus from being an essential album. [Sep/Oct 2010, p.92]

You can't too wrong when an albums starts with cowbell and kick-drum--and truth be told, you can't go too wrong with a Buckcherry album, period. [Jul/Aug 2010, p.88]

Like the classic horror movies that have inspired so much of Danzig's work, the new record delivers the thrills and chills that fans would hope for, and that Danzig, at his best, is so good at serving up. [Jul/Aug 2010, p.88]

Their third album takes the stylized blur of their previous LPs, and somehow finds new room for Circle Jerskian hooks, mid-tempo suckerpunches, and one Neurotic sludge workout. p[Jul/Aug 2010, p.90]

Sure, White Crosses is the most polished and pop-inflected album of Against Me!'s polarizing punk career--but underneath the studio sheen, the Butch Vig-produced disc also contains some of the band's best material to date. [Jul/Aug 2010, p.92]

At Night We Live represents an older, slightly sleazier, but still poetically earnest far. [May/Jun 2010, p.98]

Nothing here grabs you as immediately as "Bring Me To Life" did. Still, the group's pummeling disco-grunge version of "Like A Prayer?" Totally awesome. [May/Jun 2010, p.100]

Fifth album The Oracle is a much welcome return to form, at least in energy. Ten tracks, no ballads, no bullshit. [May/Jun 2010, p.95]

Rainbow is definitely Sanchez's show: His dreamy vocals give all the fantasy crap real human warmth. [May/Jun 2010, p.966]