There's nothing pleasant about this in any way, shape or form, basically. Yeah, Dead In The Dirt are that good. [10 Aug 2013, p.54]

Luc remains an expert in experimental extremity, with Forgotten Arrows, reminding us that Gorguts were trawling prog-death waters long before Gojira. [17 Aug 2013, p.54]

It might attract a few Mumford fans, but if you prefer Yellowcard to sound like, well, Yellowcard, stick to the original. [10 Aug 2013, p.55]

It's probably Iwrestledabearonce's most accessible album. For former lovers, though, they seem a couple notches low on the batshit-crazy scale here. [10 Aug 2013, p.53]

It's an old school blast, but the tongue-in-ulcer humour and streaks of structural invention prevent them from ever sounding dated. [3 Aug 2013, p.54]

While it's easy enough to pinpoint parallels, True Widow's appeal lies in the manner of their mixing, of the tremendously turbulent with the undeniably immediate. [27 Jul 2013, p.54]

It's a visceral, straightforward assault,, and what really shines through is a grasp of songwriting that was once sorely underused and a sense of commitment and passion that was never really in doubt. [27 Jul 2013, p.52]

As a stopgap EP this might not be the best introduction to their brilliance. [27 Jul 2013, p.53]

Live At Maida vale remains an excellent appetizer for Baroness' return. [27 Jul 2013, p.54]

Their most accessible album to date. [20 Jul 2013, p.54]

In the end the feeling is that Scorpion Child are playing slightly-above-par Saturday night pub rock, and that's all. [20 Jul 2013, p.53]

The end product is cathartic metalcore that pumps out southern grit on a par with records like The Bled's Pass The Flask or Every Time I Die's The Big Dirty. [3 Aug 2013, p.54]

Just because you can't see what's about to hit you, it doesn't mean it can't knock you off your feet, and that's exactly what All Pigs Must Die do here. Repeatedly. [3 Aug 2013, p.54]

We didn't expect Asking Alexandria to raise the bar this high. [3 Aug 2013, p.52]

One of the best albums of 2013. [13 Jul 2013, p.54]

An album which walks the wild side with instinctive ease and righteous fury. [13 Jul 2013, p.54]

While the songs are eclectic, they're all united by a shared sense of intensity. [13 Jul 2013, p.52]

Vital for obsessives. [20 Jul 2013, p.53]

Counterparts have delivered one for the heart here, not the head. [20 Jul 2013, p.54]

Anyone who savours battered tunes and growling basslines in general will enjoy this trip through Drug Church's howled at, fractured world. [20 Jul 2013, p.55]

This is music to be inspired by. [27 Apr 2013, p.54]

Sixteen years in, and it's clear Soilwork still have fertile imaginations. [9 Mar 2013, p.51]

Spitting Fire surges, grunts. sweats, spills your beer and pukes--an exact replica of being in a High On Fire crowd. [6 Jul 2013, p.54]

It helps the record sounds amazing. [6 Jul 2013, p.52]

As ever, discerning listeners will appreciate Richard Patrick's ability to send sounds spinning into their ears from several different directions. [1 Jun 2013, p.54]

The songs stick around a little longer, the sarcasm seems tuned back a notch, and melody is the fore in lieu of flurried dashes to the finish line. [22 Jun 2013, p.52]

Perhaps more a flight of fancy than a labour of love, this is still a striking offering from the Transplants. [29 Jun 2013, p.54]

This feels more like a collection of songs than a coherent album. That said, it's still the best album to bear the Queensryche name in years. [29 Jun 2013, p.55]

Accomplished but a little safe, perhaps, Palms is nevertheless an intriguing project worthy of a sequel. [22 Jun 2013, p.52]

Amid all the feedback and echoes here, there's something wonderfully ominous about Locrain's music. [29 Jun 2013, p.54]

Teresa Suarez's voice, naked and vulnerable amid woozy sounds and intricate soundscapes, is the real focus of Bosnian Rainbows. [22 Jun 2013, p.52]

Rescue & Restore is a dove with singed wings, then--a monument more to what metalcore should be than what it all too often is. [29 Jun 2013, p.53]

Deceiver Of the Gods is bold, manly metal with a beard, a beer belly and a big old cry to it. [22 Jun 2013, p.51]

With only the occasional chorus in English, singing along is tricky for us gaijin, but melodically these might be Rivers' catchiest songs since The Green Album. That makes this a hit in anyone's language. [25 May 2013, p.53]

They deliver an eclectic thrashterclass here. [25 May 2013, p.54]

Despite the myth that Anvil simply can't make a decent song, Hope In Hell is actually good. [18 May 2013, p.53]

Scale The Summit are forging their own path, hitting a creative peak which perfectly echoes their name. [15 Jun 2013, p.54]

The Maine sound like a band who've finally found their happy place. [8 Jun 2013, p.54]

It's far from bad. Sadly, though, Everblack's also far from The Black Dahlia Murder at their best. [8 Jun 2013, p.54]

Yes, it ultimately makes for predictable stuff, but Black Star Riders play bullshit-free unpretentious rock. [15 Jun 2013, p.54]

The resulting shift in sound not only suits Lemuria, it sets them apart from the indie pack. [15 Jun 2013, p.54]

Like Clockwork may have been wrought from turmoil, what it delivers is the sound of Queens Of The Stone Age back at the top of their game. [15 Jun 2013, p.54]

This is a bloody good CoB album. [8 Jun 2013, p.54]

It'll be too sappy for anyone who likes their rock raw, but if simpler pleasures tickle your pickle, there are few bands in this sphere pulling it off as expertly as the veteran Buffalo trio. [8 Jun 2013, p.54]

It's not for the light-hearted, but Deafheaven have delivered a deranged, damaged, majestic treat here. [8 Jun 2013, p.54]

Damage finds them rejuvenated. [8 Jun 2013, p.53]

Sure, the band haven't exactly come up trumps on originality here, but at least they're delivered some huge songs. [25 May 2013, p.54]

What emerges from the new City And Colour album, then, is the sound of a man with frailties who makes sense of it all through song. [1 Jun 2013, p.54]

It works and then some. [1 Jun 2013, p.54]

Under Brian Sella's smartypants lyrics and eye-catching admissions is a beating heart and a rare honesty. [1 Jun 2013, p.53]

Most of Super Collider feels half-hearted and rushed. [1 Jun 2013, p53]

In its eight track, Ozzy, Tony, and bassist Geezer Butler have managed to once again capture that special essence which makes them so magical. And it's bloody fantastic. [1 Jun 2013, p.52]

Once again, Kylesa have made a humdinger without repeating themselves. [1 Jun 2013, p.53]

It's boisterously nostalgic noise. [18 May 2013, p.55]

Though it might fail to inspire at first, it will do eventually. A grower, then. But a genuine one. [25 May 2013, p.52]

Tears On Tape isn't bad, then--it's just not as seductive as HIM can be. [25 May 2013, p.53]

This is the sound of TesseracT getting even better. [25 May 2013, p.54]

This is a brilliant mix of heaviness and The Wicker Man-esque oddness. [25 May 2013, p.54]

Very occasionally, they come a school uniform away from actually impersonating their forefathers, but it's a formula they execute wit the same kick-ass conviction that earned them support slots with Iron Maiden. [18 May 2013, p.53]

YPLL exceeds expectations, Retox ramping up the frenzy with catchier riffs and a more focused assault on musical convention. [18 May 2013, p.54]

Taken on its own merits, this is still a stunning album from a band operating at the peak of their powers. [18 May 2013, p.52]

It beautifully illustrates that bigness isn't always about loudness. [9 Mar 2013, p.52]

One listen to The Computers' latest album will show you how much they've grown since the aggro punk 'n' roll of 2008's You Can't Hide From The Computers. [27 Apr 2013, p.54]

30 Seconds to Mars' latest collection is not cloying, expansive yet often economical, approachable without being familiar. [11 May 2013, p.52]

With Ungrateful, Escape The fate have finally delivered the album they needed to make. [11 May 2013, p.53]

Some inaudible lyrics and the lack of a real killer tune let Selfhood down, but even if Sharks no longer sound like they want to smash things up, they're still capable of delivering a a quiet riot. [4 May 2013, p.54]

Arcane Roots have delivered one of 2013's best albums. [4 May 2013, p.53]

When it works, it's brilliantly dumb fun. But when it doesn't, you end up with stuff like DD's. [4 May 2013, p.53]

It's an often staggering record, by a great band, defying odds, on a hell of a run of first-lass creative form. [4 May 2013, p.52]

This is the sound of Coliseum growing up without getting old and boring. [27 Apr 2013, p.54]

Despite Daylight's unapologetically retro vibe, this is one of 2013's standout debuts so far. [27 Apr 2013, p.53]

Melvins are occasionally awful, but at least the contrary sods are never dull. [27 Apr 2013, p.53]

The Last Spire is the sound of Cathedral going out on a high. [27 Apr 2013, p.55]

The second storey of The House Of Bones story, is as excellent as its predecessor. [30 Mar 2013, p.53]

It marks their perfection of the swooning pop stuff they've been churning out since 2006. [30 Mar 2013, p.54]

Despite the record's unabashed predictability, it's hard not to get caught up in their snub-nosed bluster. [6 Apr 2013, p.54]

If the Devil really does have all the best tunes, he's loaned a few of them to Ghost B.C. [6 Apr 2013, p.55]

Nails have delivered one of the most savage and head-spinning albums of the year so far. [6 Apr 2013, p.53]

Disarm The Descent is an overdue return, a prodigal son story and their best album since The End Of Heartache. [6 Apr 2013, p.53]

It's daring and rarely less than dazzling. [6 Apr 2013, p.52]

With singer Lacey Sturm plastering every word in M-E-L-O-D-Y, she ensures that the choruses of Fire Fire, Cage On The Ground and the title track all pirouette around you brain for days. [13 Apr 2013, p.60]

Save Rock And Roll is bonkers, brilliant and it's Fall Out Boy like you've never heard them. [13 Apr 2013, p.58]

It's easy-going, it's listenable, but it also sounds a bit, well, tired. [13 Apr 2013, p.59]

New singer Jasen Moreno has an adequate bark, but the songs themselves are the problem. [30 Mar 2013, p.54]

On this ninth album, they sound largely the same. [30 Mar 2013, p.54]

Sempiternal sounds like a record that wants the world--that's all of it, not just the bits where longhairs dwell--which is refreshing for a metal record in 2013. [30 Mar 2013, p.52]

This is how you do post-hardcore in 2013 without sounding like a relic. [23 Mar 2013, p.54]

[The diversity of genres] proves a welcome alternative to COTV's more genre-bound contemporaries,e even if the furious freneticism of grind anchors their sound with a clear sense of identity. [16 Mar 2013, p.55]

What You Don't See holds up its end of the bargain, with rattlegun rhythms, sun-kissed melodies and enough grit in the guitars and frontman Parker Cannon's vocals to offset any saccharine edges. [16 Mar 2013, p.54]

This is almost dangerously infectious stuff from ASIWYFA. [23 Mar 2013, p.54]

Kvelertak play rock'n'roll that's been distilled to its purest sense. [23 Mar 2013, p.53]

For all the whiskey-soaked swagger on offer here, there's little to distinguish these tracks from one another. [16 Mar 2013, p.53]

There's enough gritty social commentary and songwriting class amid the occasional cheese to suggest that, on the long road to credibility, Bon Jovi are finally more than halfway there. [9 Mar 2013, p.52]

Every song on Home packs a mighty chorus with a bloody, beating heart, pumping truth and righteousness to, from and for the soul. [9 Mar 2013, p.52]

The highs far outweigh the lows. [9 Mar 2013, p. 50]

The Raven is a solid offering, it's just not particularly as progressive as we know Steven Wilson can be. [2 Mar 2013, p.52]

If the music The men are making is punk, it's rarely sounded so awesome. [2 Mar 2013, p.51]

Chelsea Light Moving's debut is fantastic. [2 Mar 2013, p.51]