Ultimately, Bush devotees who lived through the alt.rock ‘90s will find much to love about The Kingdom. But it is also an album delivered with Rossdale’s customary style and panache, not to mention tunes that sit elegantly alongside the likes of Everything Zen and Swallowed.

For the most part though, this is The Ghost Inside getting back to the largely straightforward, undeniably powerful mix of metal and hardcore they have always done so well.

Amends is a portrait of the artist as a young man, offering fans the chance to time travel and spend time with an old friend. It’s also the origin of Chester Bennington as a musician and is therefore an essential, rewarding and emotional listening for anyone who is a fan of his work.

Lamb Of God are not the band they once were. Those were the sounds of then. This is the now.

A sensory overload that doesn't let up. [28 Mar 2020, p.51]

If one thing about The Used’s eighth LP stands out above all others, it’s how thrillingly modern it sounds.

At its best, Hvman:||:Natvre has the impressive magic that has made Nightwish one of Europe’s biggest bands. But there’s a feeling this time that for such a big concept, things haven’t gone quite far enough.

Across a stirring nine-song sprawl, they showcase enough pulsating purpose, and fresh folds of their rich Gothic influence, to prove there’s still plenty to be drawn from that deep well.

It’s wilder and unvarnished, adding up to a self-portrait that’s intensely candid and intimate.

Being so musically and thematically rich, GLUE will be a lot of things to a lot of people, and therefore act as an enduring monument to being young and looking ahead in a world that doesn’t always seem to have, or want, a future. This is an album that simultaneously makes you sad and glad to be alive. Treasure it. Use it.

Much of the album is minimalist in its approach, allowing Jonas Renkse’s vocals to guide the way against a kaleidoscopic soundscape of soft melodies that feel almost ethereal.

It’s not perfect (hello, Bending The Arc To Fear), but for a band previously hindered by wearing their influences so blatantly on their sleeve, they have made it to their final form.

Despite the band stretching their boundaries wider than ever before and employing a kitchen-sink approach to experimentation, this is the most Enter Shikari sounding record the band have made to date.

From its furious themes to the explosive energy and the livewire sound, you’d be hard pressed to find a band doing anything quite like this right now, and it’s genuinely exciting to think what Nova Twins can achieve with these 10 tracks of pure sonic power in their hands.

A strange, unruly offering. The momentous, squalling dissonance of the curtain-raising Reducer seems to signpost where they’re going, but then they spin off into a twisted, eight-track labyrinth.

Titans Of Creation – the quintet’s 13th studio album – is packed tight with the precision and power that they’ve made their own for more than 30 years. On tracks such as the hectic WWIII and Curse Of Osiris, Testament sound as forceful as they ever did.

If you’re looking for a short, fun thrill from a gang of likeable oiks with all the grace of a one-legged camel, talk to The Chats.

As well as being excellent, Local Honey is evidence that the man himself is able to adjust his songwriting to his circumstances without compromising in its quality. It all makes for a seriously sweet listen that reaffirms the Jersey boy as a storyteller and songwriter par excellence.

It’s Pearl Jam’s most incensed album since 2006. It’s their most musically inventive since 1998. And, by virtue of its themes, it is their most gravely needed of their entire career. It is, in short, a triumph.

Across 12 tracks, it does get a little samey, but then again, individual songs aren’t the entire point here. This is a record that creates an atmosphere around itself, a world of its own, without sounding twee or like something from a real ale festival. A curio, maybe, but a heartfelt and skilfully realised one from a genuinely unique artist.

It feels like tectonic plates have shifted for the band with The Ghost Of Orion, ushering in the dawn of a new era for My Dying Bride.

They deliver a raw brand of garage-punk that isn't exactly new but remain fresh in these hands. [14 Mar 2020, p.73]

This is an album that will still stand as a monument to just how scaldingly intense music can be.

For the most part, Ice plays with middle-age, cranking up the grumpy-old-man persona he established on 2014’s Institutionalized with tongue-in-cheek glee and riding it through the exploitation movie excess of Thee Critical Beatdown.

Frequently bursts with the impactful emotion now expected from its creators. [11 Jan 2020, p.57]

This new solo album is at its strongest when Greg finds new ways to express himself. Where there are traces of the Whigs’ soul power, as on Sempre and The Tide, it’s hard not to compare the songs unfavourably to his day job.

An emotional ride that's hard to tune out. [22 Feb 2020, p.55]

Humanist finds former Exit Calm man Rob Marshall crafting a brooding songbook fuelled by echoing post-punk guitars, steely beats and electronic embellishments.