Slayer: Reign in Blood
Released the same year as Master of Puppets, Slayer’s Reign in Blood took the opposite road: ten tracks, under thirty minutes, no…
Released the same year as Master of Puppets, Slayer’s Reign in Blood took the opposite road: ten tracks, under thirty minutes, no…
Released in 2001 on Epic Records, New Killer America captures the Florida nu-metal wave at its most frontal. Skrape deploys massive riffs,…
Skindred’s debut, Babylon imposed in 2004 an explosive, instantly recognizable formula: ragga metal. Born from the ashes of Dub War, the Welsh…
First UK number one of their career and 76/100: the Welsh "punky reggae party" gets almost everyone dancing.
By 1994, Sick of It All was no longer a well kept secret of the Lower East Side. The band was carrying…
Released in 1997, Built to Last is Sick of It All’s fourth album and one of the peaks of their major-label years.…
Released in 1989, Blood, Sweat and No Tears is Sick of It All’s debut album and one of the founding documents of…
Siamese has never hidden its ambition to blur the boundaries between metalcore, pop and alternative rock, and Elements pushes this logic of…
80/100: the Danes fuse metalcore, pop and saxophone into a surprisingly addictive blend.
New York hardcore reinvented with banjo and grime: 80/100 for a harsh, communal record.
With The Sound of Madness (2008), Shinedown sharpens its hard rock formula and clearly aims for the arenas. The record leans on…
Press applauds (74), public sulks (58): Shinedown's most ambitious record is also its most divisive.
Released in 2004, The War Within stands as the commercial and creative peak of Shadows Fall, the Massachusetts band that played a…
Released in 2002, The Art of Balance is Shadows Fall’s third album and is often considered its peak. The Massachusetts band perfects…
Released in 1997, Sevendust’s self-titled debut reveals a band already fully in command of its identity. The Atlanta quintet shapes an alternative…
79/100: after announcing the end, the Brazilians deliver an honourable last chapter.
Released in 1994, Stacked Up remains the peak of British band Senser and one of the most original records in European crossover.…
Seether’s debut, Disclaimer (2002), places the South African trio firmly within the early-2000s post-grunge movement. It offers thick guitars, a raw vocal…
Hardcore throws its windows open to grunge and pop: 82/100 for a record mid-moult.
Released in 1987, Hall of the Mountain King marks a turning point for Savatage. The Florida band, led by the Oliva brothers,…
Released in 1996, Nemesis Divina is Satyricon’s third album and one of the great records of the second Norwegian wave. The duo…
There is something almost ritualistic about the way Saor opens their albums, and Caledonia follows suit. From the very first bars, the…
83/100: Andy Marshall's Caledonian metal, between atmospheric black and Scottish folklore.
Ohio's sludgy death metal wallows gleefully in the muck: 79/100 for a record as filthy as it is fun.
With Every Six Seconds, Saliva lock in the formula that would make them recognisable: a big-canvas nu metal fuelled by arena-sized hooks…
The third album by America’s Saint Vitus, Born Too Late (1986), marks a major turning point: the arrival of singer Scott Wino…
Sabaton returns with Legends, an album that switches record labels without changing its formula: battles, heroic figures, and choruses built for stadium…
With Carolus Rex, released in 2012, the Swedish band Sabaton takes on a subject as ambitious as it is unusual for them:…
The season's best-reviewed record: 83/100, zero reservations. Instrumental post-metal at its peak.
The Chicago instrumental trio harden their tone: 82/100 for a rougher, denser record.
Rotting Christ’s ninth album, Theogonia (2007), marks a decisive step in the maturation of the Greek band led by Sakis Tolis. Having…
Chaos and grace in a single breath: 86/100 for the culmination of a twenty-year mutation.
Winning comeback at 74/100: Zombie's industrial B-movie "rocks like an absolute motherfucker". Only Pitchfork pouts.
Pennsylvania death metal opens to saxophone and introspection: 83/100 for a daring record.
Grave Noise at 7.5, Kerrang! at 3/5: unique in the world, yet familiar. The Paris blade cuts a 7.
Sumptuous psychedelic doom: "fantastic" even to its harshest critic. 8/10 average.