Dethalbum III makes for further arse kicking. [20 Oct 2012, p.54]

This remains a feral ball of aggression and loathing. And frankly, we wouldn't want it any other way. [13 Oct 2012, p.54]

It's not quite Destroyer good, but then again, it's not quite Animalize bad either. [13 Oct 2012, p.53]

While For Baltimore proves they can still write a grade A banger when they put their mind to it, too many songs are destined to have "must try harder" stamped on their report card. [13 Oct 2012, p.52]

Floral Green's pleasant, pastoral title belies its 11 jagged cuts. [22 Sep 2012, p.51]

The good news is that the riffs are back. [8 Sep 2012, p.53]

Death metal has rarely sounded as deliciously demented as The Faceless do here. [11 Aug 2012, p.54]

Words such as gorgeous, intricate, haunting, and even magnificent are easily applied across all 10 tracks here. [6 Oct 2012, p.54]

So far so grandiose. Fortunately, Coheed's music mirrors the scope of the project as a whole here. [ 6 Oct 2012, p.54]

Silver Age is a fun ride, then, but it won't warrant racing back for any tine soon. [6 Oct 2012, p.53]

At 72 minutes, it's quite the voyage--but please, don't remain in your seat at all times. [6 Oct 2012, p.53]

All We Love We Leave Behind will sit alongside the very best. [6 Oct 2012, p.53]

Does this all meld together into the cohesive whole of a perfect album? Well, no, not really. But does The 2nd Law represent a band whose only limitations seem to be the high ceiling of their collective imagination? The answer here is an emphatic yes. [6 Oct 2012, p.52]

It's not perfect by any means, but taking this for what it is, Vultures is a gnarly debut effort. [29 Sep 2012, p.52]

The Amity Affliction have polished their beauty-and-the-beast sound and frankly, it couldn't be better. [29 Sep 2012, p.54]

British Lion is a brilliant album. [8 Sep 2012, p.52]

This is a weird, unconventional and utterly thrilling classic. [29 Sep 2012, p.53]

Once again, Enslaved have produced music that kicks slavish notions of genre limitations into touch. [29 Sep 2012, p.54]

Gwen and co. prove that, when it comes to state-of-the-art, good-time punk-dance, they're still the fairest of them all. [29 Sep 2012, p.54]

The reassuring thing about Self/Entitled is that NOFX are still gobby, snotty and obnoxious for punk's sake. [29 Sep 2012, p.54]

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]

They've finally made an album as noisy and expressive as their leader. [22 Sep 2012, p.52]

Blaqk Audio deliver faithfully realised fare, then, but about as 2012 as Betamax videotapes [22 Sep 2012, p.53]

What you get here are all-out, blastbeat-fuelled trashers--for every anthemic call-and-response hook and melody, there's a lurching spine-crushing breakdown to follow. [22 Sep 2012, p.51]

Minus The Bear are back on track. [22 Sep 2012, p.51]

What this amounts to is a sharp and often exhilarating change of gear from the Green Day of the past eight years. [22 Sep 2012, p.50]

There's a fresh, East-meets-West ingenuity on culture-clash cuts such as Wrestling Israel, amid the straight-up, old-fashioned fury on the title track, and closers #OccupyEarth and Stop the Apocalypse. [8 Sep 2012, p.53]

Another startling offering, then, from one of the most consistently perfect bands in post-rock. [1 Sep 2012, p.51]