The Callous Daoboys — I Don’t Want to See You in Heaven
85/100: the wildest mathcore around reaches an unexpected maturity.
85/100: the wildest mathcore around reaches an unexpected maturity.
86/100: the Californian "ecstatic black metal" crew turn darkness into light.
77/100: the Norwegian black-metal legends deliver a solid if debated record.
79/100 across twenty reviews: the drone kings' self-titled album, a mass of low frequencies.
83/100 across twenty-one reviews: the blackgaze pioneers reconnect with fury.
89/100: the new benchmark for modern metalcore, driven by Courtney LaPlante's extraordinary voice.
87/100 across nineteen reviews: the alternative-metal masters return to near-unanimous acclaim.
Bordeaux tech-death dares to be vulnerable. The craft is unanimous; the pacing divides.
From Elton John to Dying Fetus, twenty-two wildly uneven reworks: not an album, a flex.
Karevik masterful, formula unchanged: press splits (8/10 vs 2.5/5), consensus lands at 6.5.
Beartooth's pop-rock turn: press applauds (77/100), fans grumble (59/100). Divisive — therefore interesting.
Press applauds (77/100), listeners check out (49/100). The season's biggest gap.
Mastodon's first post-Hinds album is an acclaimed grief record (83/100 Metacritic), cathartic and often magnificent.
Zero evolution, maximum execution. The year's best AC/DC record isn't by AC/DC.
The season's best-reviewed record: 83/100, zero reservations. Instrumental post-metal at its peak.
Rapturous early reviews: "the fury has metastasized". Out September 4.
Trilogy finale bordering on critical genuflection: 9.8/10 at Sonic Perspectives. Out September 4.
Denmark's blackgaze spearhead delivers one of the year's highest-rated records (85/100) — but the gap with the public marks it as divisive.