A staggering statement of endurance, diversity and sheer unbending power. Bow down to the kings.

With Tony’s smooth voice the perfect accompaniment to all of this, Genghis Tron Version 2.0 makes for one of the most exciting returns to action in recent years, and with Dream Weapon they have only cemented their enviable legacy.

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

By stabbing in the dark and boldly going where they've never gone before, they've made something genuinely great. [12 Sep 2015, p.48]

By channeling everyone from Sonic Youth to Alice In Chains, Milk Teeth's debut hits with the power of a dozen brilliant bands at once. [23 Jan 2016, p.51]

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

All We Love We Leave Behind will sit alongside the very best. [6 Oct 2012, p.53]

This album announces IDLES as one of the most exhilarating and necessary punk bands of right now. [8 Sep 2018, p.53]

For a serious Pumpkins fan, this is a gold mine. [15 Dec 2012, p.49]

After a decade-plus of no small creative achievement, Thursday have outdone themselves. [9 Apr 2011, p.51]

This time, La Dispute prove that less is definitely more. [15 Mar 2014, p.54]

I Loved You At Your Darkest offers conclusive proof that their Satanic majesty remains intact, even as they embark on their most ambitious artistic expression to date. [6 Oct 2018, p.53]

These are great songs. And this doesn't sound like a band with no road left to walk down. [26 Aug 2017, p.50]

The Wonder years have not only delivered a genuinely great pop-punk record but a genuinely great record, period. [8 Oct 2011, p.50]

It's a bleak, nihilistic affair, but dynamic enough never to lose its focus. [25 Feb 2012, p.52]

Kodama is one of 2016's most arresting releases. [15 Oct 2016, p.53]

A truly first-class record and establishing their place art the top-tier of the genre. Its choruses are huge, its lyrics are every bit as chant-able as they are poignant, its energy is relentless. [15 Apr 2017, p.52]

A trip worth taking, over and over again.

Normal Isn’t is a more subtle beast than Existential Reckoning, a cohesive collection of electro-goth tunes that runs deeper, darker, and in Bad Wolf and ImpetuoUs, hookier than its predecessor.

The Spiritual Sound is a fathomless pool worth hurling yourself into, a shimmering, shattering new landmark on heavy music’s mind-expanding outer limits.

Congregation leaves off with an air of strength. On one level, from overwhelming darkness, they’ve wrenched a set of songs that are not only vitally relevant in the here and now, but which will stand the test of time. On another, it’s clear that Witch Fever’s journey is just beginning.

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]

These songs gleam like freshly polished diamonds. [ 23 Jun 2012, p.53]

The 10 blasts of raging hardcore, death metal and stomach acid they vomit here are delivered with the worst of intentions. [4 Jun 2016, p.51]

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

For Deftones, finding the sweet spots between compromise and balance, factoring in each member’s duties and creative inputs may be a more appropriate way of assessing the delicacy of the task at hand. It’s within that push and pull, that the aptly-named, tension-charged Ohms proves itself a fascinating entry into the band’s canon.

This is simultaneously both the most pulverising and the most memorable release the band have put their name to in years.