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]

Accomplished but a little safe, perhaps, Palms is nevertheless an intriguing project worthy of a sequel. [22 Jun 2013, p.52]

Amid all the feedback and echoes here, there's something wonderfully ominous about Locrain's music. [29 Jun 2013, p.54]

Teresa Suarez's voice, naked and vulnerable amid woozy sounds and intricate soundscapes, is the real focus of Bosnian Rainbows. [22 Jun 2013, p.52]

Rescue & Restore is a dove with singed wings, then--a monument more to what metalcore should be than what it all too often is. [29 Jun 2013, p.53]

Deceiver Of the Gods is bold, manly metal with a beard, a beer belly and a big old cry to it. [22 Jun 2013, p.51]

With only the occasional chorus in English, singing along is tricky for us gaijin, but melodically these might be Rivers' catchiest songs since The Green Album. That makes this a hit in anyone's language. [25 May 2013, p.53]

They deliver an eclectic thrashterclass here. [25 May 2013, p.54]

Despite the myth that Anvil simply can't make a decent song, Hope In Hell is actually good. [18 May 2013, p.53]

Scale The Summit are forging their own path, hitting a creative peak which perfectly echoes their name. [15 Jun 2013, p.54]

The Maine sound like a band who've finally found their happy place. [8 Jun 2013, p.54]

It's far from bad. Sadly, though, Everblack's also far from The Black Dahlia Murder at their best. [8 Jun 2013, p.54]

Yes, it ultimately makes for predictable stuff, but Black Star Riders play bullshit-free unpretentious rock. [15 Jun 2013, p.54]

The resulting shift in sound not only suits Lemuria, it sets them apart from the indie pack. [15 Jun 2013, p.54]

Like Clockwork may have been wrought from turmoil, what it delivers is the sound of Queens Of The Stone Age back at the top of their game. [15 Jun 2013, p.54]

This is a bloody good CoB album. [8 Jun 2013, p.54]