It’s interesting to hear Candy embracing their experimental side and, for anyone in any doubt, their industrial tinged noise is every bit as horrible as their hardcore – a wonderful spectrum that ranges from explosive anger to sinister brooding.

The Velveteers strut across many different dimensions, whether that’s through the means of dreamy ballads like the title-track, the cinematic, swaying Heaven or the hulking blues rock of Moonchild (with a sassy coda that demands that listeners get up and shimmy). It leaves a remarkable impression, so much so that even after a couple of plays, these songs feel like they’ve been in your life forever.

Immediate heaviosity is in short supply, but Cold dark Place instead offers plenty of alternate impact. [30 Sep 2017, p.52]

Dig deeper and beguiling melodies emerge while the intriguingly sinister edge to Cacie Dalager's lyrics is exposed. [25 Aug 2012, p.53]

It’s a lot of fun. With all this in mind, will such an eccentric listen be for everyone? Probably (k)not. But, right now, you’d be silly to not let yourself get caught up in it.

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

Drug Church are as addictively seductive as ever and listening to Hygiene might just be one of the most satisfying things you can do in less than half an hour.

It’s an altogether more oppressive album than Brighten, and therefore something that Alice In Chains fans are going to want in their lives. That said, I Want Blood still knows when to pause for breath.

Whatever facet of Trent’s oeuvre you’re into, you’ll be well serviced by Nine Inch Noize, a thrilling addition to a career characterised by innovation. Credit must be given to Boys Noize, too, for helping inspire this incredible musical detour. It’s one worth taking. Again and again.

They craft near-perfect garage-rock songs to hang the thrills and frills from. [22 Sep 2012, p.53]

It's nothing we've not heard before from Clutch, but it remains superbly head-crushing. [10 Oct 2015, p.52]

Back On Top never loses sight of something very important: trying something new. [24 Oct 2015, p.52]

This is a brave, bold and ambitious album, and the finest of Lower Than Atlantis' career so far. [4 Feb 2017, p.50]

After listening to Ascent, you'll be hard-pressed to locate a better batch of mesmerising mind-expanding jams this year. [25 Aug 2012, p.54]

Once again, Arctic Thunder sees Darkthrone doing something different, without doing much different than usual. [22 Oct 2016, p.69]

A long-overdue show of individual brilliance.

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

They’ve emerged as one of the most vital punk-fuelled bands of the age, and their live show is a huge part of that. Check this out to see why. [7 Dec 2019, p.54]

Dreams On Toast is spread to the corners with the familiar and the fresh, equal parts self-awareness and self-regard, resulting in their finest album of this, the second coming of The Darkness.

If you want The Art Of Drowning-era iteration, then they’re still there on record forevermore. This is the AFI of 2025, though – older, bolder, hairier and doing things their way – and authenticity never goes out of style.

This might be a more reflective, experimental IDLES, but they remain a band filled equally with anger, humour and vitriol. And, whichever direction they take, it still sounds fantastic.

It's the sound of a band who know their craft inside out, but who aren't afraid to grow and try something new. [29 Sep 2012, p.53]

Madina Lake sound not only more organic but also more alive. [1 Oct 2011, p.51]

Remastered, here, and packaged alongside demos, radio sessions, alternative mixes and a live DVD, it shows the breadth of the band's early ambitions. [3 Dec 2011, p.50]

When an album imbued with the spirit of heroism, the opening track has to boldly throw down the gauntlet. Job done. [15 Oct 2016, p.51]

This is a record that taps into punk rock’s restless spirit while giving it a sharp, modern lick.

It perhaps didn’t have to be so lengthy, especially when it’s made dense by a surplus of delicate ballads that sound just a tad too similar. However, its concept, eloquence and even just its sheer emotional weight all serve to make this record special nonetheless, both for its quality and as a document of Halsey’s survival.

There are dramatic dynamic shifts and a defter blend of melody and muscle, making this by far the best album the Ohio outfit have yet produced. [10 Sep 2011, p.51]