Alpha and Rainbow Gravity are the sound of a band in complete control of their sonic destiny, reining in those djenty riffs for more cinematic musings that quickly unravel into modern metal anthems. [17 Jan 2015, p.54]

There's no fat. Here in abundance is evidence of Billy's enduring genius. [13 Dec 2014, p.52]

Million Miles An Hour is the kind of dumb, red-cup rock that only very clever people can write, while Get 'Em Up is the best song about erectile dysfunction (we think) ever written. [29 Nov 2014, p.52]

There are points at which this all feels a little hollow. [6 Dec 2014, p.52]

This is a wholly disturbing listen. [6 Dec 2014, p.54]

Yes, in places the jams get a bit too funky, but even these missteps don't disrupt the haze you enter elsewhere. [16 Aug 2014, p.54]

The album is far heavier, rawer and rootsier than its predecessor. [3 May 2014, p.52]

Atop these intoxicatingly addictive gems are the vocals of bandleader Kim Shattuck. [6 Sep 2014, p.54]

While World On Fire isn't the finest thing Slash has, or will ever, put his name to, it still shows an iconic talent doing what he does very well. [6 Sep 2014, p.52]

This music made the film, basically. Of course, what matters for this physical release is that, like all the best soundtracks, these songs works as an album, independently of Ben Affleck and Rosamund Pike's martial kerfuffle. [22 Nov 2014, p.52]

A little of their usual magic may have evaporated, but it's still a pleasure to hear these awkward buggers playing it straight. [22 Nov 2014, p.52]

It seems Punk Goes Pop has finally run its course. [22 Nov 2014, p.51]

Its unhurried pace is a drag at times, but should leave bands who repeat themselves with their pride punctured and their egos pricked. [22 Nov 2014, p.51]

This is an AC/DC record as lusty as they come. [22 Nov 2014, p.50]

It's dreamy stuff, but it's nothing on their 5K-rated, self-titled 2012 debut album. [15 Nov 2014, p.54]

Dear Youth will stomp your head and fire your heart. [15 Nov 2014, p.54]

It's a collection of eight good and great Foo Fighters songs. [15 Nov 2014, p.52]

IX isn't quite as boisterous as 2012's outstanding and raucous Lost Songs, but ...And You Will Know Us by the Trail of Dead's subtle power still impresses. [8 Nov 2014, p.55]

While this retains their characteristic strangeness, you could argue it isn't the best use of their considerable talents. [8 Nov 2014, p.54]

This is easily the best punk album of 2014. [8 Nov 2014, p.54]

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

A few teething problems aside, Between The Stars is a brilliant reinvention. [1 Nov 2014, 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]

The buzzsaw guitars and cheese-free hooks remain largely the same, but there's a passion and depth to these songs that really rolls back the years. [1 Nov 2014, p.53]

Mariachi El Bronx III is the rarest of things: an album that does not feature one bad song. [1 Nov 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]

Brilliant, Melvins, brilliant. [18 Oct 2014, p.54]

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]

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]

Its bleak, grungy soundscape doesn't always hit, but when it does, Mr. Lanegan is captivating. [18 Oct 2014, p.54]

The result is an album that quietly impresses rather than ramming you abruptly in the sternum. [18 Oct 2014, p.53]

They present a skewed take on real life rather than some mystical ramblings. [27 Sep 2014, p.54]

This is classic ATG with freshness and vigour to spare. [25 Oct 2014, p.54]

Tiny Moving Parts have moved the latest wave of emo forward and offered it a tissue. [25 Oct 2014, p.53]

Musically, this is the most extreme Slipknot have sounded since 2001's Iowa. [25 Oct 2014, p.52]

This comeback album from industrial metal outsiders Godflesh effortlessly recaptures the visceral appeal of their early days. [11 Oct 2014, p.55]

The melodic emo guitar parts are more catchy than most of their ilk, while nostalgic pop-culture references are both comforting and sincere. [11 Oct 2014, p.53]

This album lacks that crucial edge to make it essential, but these Bots still know how to kick up a decent noise. [11 Oct 2014, p.53]

It's all business as usual for Exodus, but business is still good. [11 Oct 2014, p.53]

Set It Off have created their own sub-genre in an oversubscribed pop-rock scene and absolutely nailed it. [11 Oct 2014, p.53]

Resurrection is a powerhouse of a record, the brave onward steps of New Found Glory proving that hope--like pop-punk--is not dead. [11 Oct 2014, p.52]

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

While there is nothing to rival the classic Step Down, it's hard to argue with the punch SOIA still pack. [4 Oct 2014, p.54]

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

This fourth LP is a nostalgia-tinted treat. [27 Sep 2014, p.54]

It makes for an impressive debut that sees Sleepwave unapologetically aiming for the sky. [27 Sep 2014, p.54]

Here Finch seem like a band unpausing rather than pressing into new territory, This is therefore a somewhat confused oblivion. [27 Sep 2014,p.53]

It's just an album of bona fide, polished, often odd, perfect pop-rock. [27 Sep 2014, p.52]

At its best, The Weird And Wonderful is as fine an articulation of the thrills, spills and general confusion of being young and different in the UK as you're likely to hear. [13 Sep 2014, p.52]

Siren Charms is decent enough, but it's so by-the-numbers it could have been written on a calculator. [6 Sep 2014, p.54]

This follow-up is a micro-tad more optimistic [than 2011's Several Shades Of Why]. [13 Sep 2014, p.54]

The Physical world is a perfect storm of groovy punk. [13 Sep 2014, p.54]

It's consistently excellent, showcasing the band's trademark riffy and psychedelic sides. [13 Sep 2014, p.53]

This seventh record still offers plenty for those who want an aural assault. [30 Aug 2014, p.51]

It's a continuation rather than a total rebirth, but with Reincarnate, MIW's transformation is complete. [30 Aug 2014, p.51]

This is an excellent ensemble of songs. [30 Aug 2014, p.50]

One of the most hard-hitting records of the year. [30 Aug 2014, p.52]

They're actually just listless, ambling nonsense. [30 Aug 2014, p.52]

Their gloriously off-kilter approach is compelling and then some. [30 Aug 2014, p.52]

Sonically, it's perfect, but American Hi-Fi lack the songwriting genius f Rivers Cuomo or Dave Grohl that would nudge American Hi-Fi from being good to great. [20 Sep 2014, p.53]

It's not wholly original, but there's plenty here to keep the (Gnar)wolf from the door. [20 Sep 2014, p.54]

All the standard atmospheric touchstones get brushed aside here in favour of a deeper, more meditative experience. [20 Sep 2014, p.53]

It's not nice, but Electric Wizard prove here that sometimes to achieve perfection, all you need is hate. [20 Sep 2014, p.53]

Hesitant Alien is a magnificently oddly-shaped album that glides and jerks between styles like a turbo-charged rubber ball. [20 Sep 2014, p.52]

Greetings From California is an album that shines a light on The Madden Brothers' mature side. [13 Sep 2014, p.53]

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

At it's best, it's a thing of beauty. But if the duo's choruses set the gold standard, it's the riffs that are worth their weight in platinum. [23 Aug 2014, p.54]

Even in the absence of the drum machines and sonic complexity of old, Esben And The Witch have the capacity to be seriously trippy. [23 Aug 2014, p.53]

The Day's War is a record worthy of reclaiming all those devalued adjectives that have seem co-opted bu other, less-deserving recipients. [23 Aug 2014, p.52]

Sure, it's hard to tell some of the more sombre tracks apart, but if it's complex, squishy emotions you're after, Maybeshewill are definitely speaking your language. [16 Aug 2014, p.54]

Great Divide is a tightly honed, 12-track collection. [16 Aug 2014, p.52]

Elysian Woes and River prove that, whatever your favorite version of Opeth, they possess a embarrassment of riches when it comes to gorgeous melodies. [16 Aug 2014, p.53]

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]

A fine album--big ideas perfectly executed. [2 Aug 2014, p.53]

You couldn't accuse it of being a complicated listen. Thankfully, the truncated frustrations of Catalina Fight Song ensure Joyce Manor are still a challenging one. [26 Jul 2014, p.53]

Wovenwar lack a bit of bite. [26 Jul 2014, p.52]

These songs do not merely take a cursory glance at varied and disparate styles, but are, in fact, detailed and carefully conceived excavations. [2 Aug 2014, p.52]

Expect to get sonically clobbered. Expect big things from Capture The Crown just down the line. [2 Aug 2014, p.54]

The riff were plenty and more focused than ever before. [2 Aug 2014, p.54]

It's simply heavy metal: proud, fearless, loud. [19 Jul 2014, p.52]

It's vibrant and soulful, but undercut with a darkness that's hinted just enough to haunt these songs. [28 Jun 2014, p.54]

This isn't for the weak-hearted or easily offended. But Body Count are definitely raucous fun. [28 Jun 2014, p.53]

Some people may find this outdated, but it's an absolute treasure chest for slavish fans. [19 Jul 2014, p.53]

It's effective if unspectacular, but it's the lyrics that turn this into something special. [5 Jul 2014, p.54]

Although everything is rendered with a high-shine gloss and sanitised precision that makes it more saccharine than Sex Pistols, there's still an enjoyment to be had on a basic level. [5 Jul 2014, p.53]

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

It's the first time that Mastodon have followed up an album with its next logical step. [21 Jun 2014, p.48]

It's as vast and cosmic as the title suggests. [14 Jun 2014, p.54]

What we're left with is an overlong, quietly ominous strumming set showcasing his twisted genius. [14 Jun 2014, p.55]

As always, the uninitiated need not apply. For the rest of us, Goatwhore are a filthy feast. [12 Jul 2014, p.53]

The Black Market is a magnificent wake-up call. [12 Jul 2014, p.52]

The Maniacs prove persuasive enough to bring you round to their way of thinking. [12 Jul 2014, p.54]

What's most impressive is the sense of personal innovation, and WITTR's willingness to follow their vision wherever it may roam. [12 Jul 2015, p.54]

it's all so brilliantly done, such a massive, shiny rush of excitement, joy and fuzzy-feelings that you can't help but love it. [14 Jun 2014, p.54]

Boris often sound like they're fashioning a facsimile of a style rather than engaging with it fully. [14 Jun 2014, p.53]

While there are flashes of exceptional power and invention on offer, there is also a fair share of nondescript greyness, too. [14 Jun 2014, p.52]

Eyehategod are growing old disgracefully, and they're all the better for it. [24 May 2014, p.54]

The Amity Affliction's most accomplished release yet. [7 Jun 2014, p.53]