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]