An album that proves that Trivium have much life in them yet. [12 Oct 2013, p.51]

Too many songs utilise the same plodding, mid-paced grooves and simple, one-line refrains. [5 Oct 2013, p.54]

Panic! At The Disco's latest offering is a good time, almost all the time. [5 Oct 2013, p.52]

This is a more organic effort. [28 Sep 2013, p.52]

Fever Hunting finds MLIW back at their best. [31 Aug 2013, p.53]

Bed & Bugs is an erratic and abrasive effort that'll delight those who prefer their rock to wander without a map. [21 Sep 2013, p.54]

It's fast, It's slow, It's mature, without being boring; it rocks, even when it's doesn't. It's also one of the best albums of 2013, if not the best. [12 Oct 2013, p.50]

It was a given that Hesitation Marks would provide Nine Inch Nails with a future. But what's so impressive here is that it's given then a future every bit as promising as their illustrious past. [31 Aug 2013, p.52]

The chaotic metalcore drums and vocals effortlessly play host to hulking, Skrillex-sized basslines, early Linkin Park turntablism and violent, Prodigy-style synths, as their sound aggressively morphs from track to track. [31 Aug 2013, p.53]

This is straight-up post-hardore. [14 Sep 2013, p.53]

Touche are still gonna pull at heartstrings, but now they'll suffocate and strangle you with them, too. [21 Sep 2013, p.53]

Fortress is Alter Bridge's most aggressive album to date. [21 Sep 2013, p.52]

Winter Kills thrills with the same potency the band have wielded throughout their career. [24 Aug 2013, p.54]

What sounds beautiful one minute can be unwieldy the next, as everything hazes together. [7 Sep 2013, p.52]

It's a brave album and, once the dust settles, it'll be remembered as a great one. [24 Aug 2013, p.52]

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]