A record that leaves the listener exhausted, scared, but most of all enthralled by the sheer malevolence displayed.

They now come thundering out of the speakers, brutal and precise in landing every blow.

Stewart creates the resonance he speaks about through a very delicate balance between acoustic and electronic instruments and the varying tempos he uses throughout.

Privation marks another bold step forward as Fange continues to fearlessly experiment.

This is a great record if you like your death metal progressive, cosmic and idiosyncratic but also, belligerent and pulverising.

You can give this album’s ambient concept any other tag you want, post-jazz or post-anything, Lionmilk does it all justice here.

To fly through post-hardcore, screamo, mathy sections, even near d-beat in 11 tracks and 29 minutes whilst still encouraging multiple listens without being overwhelming is a great achievement.

Four friends flit from progressive metal into black, death, and the mercurial post- territories to scratch an itch.

An album that delivers justice, at its finest. And for Gandalf’s Fist, they picked up the pace on Widdershins by bringing in the goods, from beginning, middle, and to very end.

There’s no elitism, just a desire to play fast and loud and to make their voices heard. If you’ve listened to Rotten Sound at all in the past 30 years, ‘Apocalypse’ will feel like an old comrade in arms dragging you back into the fray.

Kassogtha have really trained themselves to bring us that full ammunition that is brought onto their new album.

One of the many strengths of this band is their penchant for insanely catchy, top shelf melodies.

Layered, atmospheric songs that seriously groove and rock.

You might want to play it with a candle, burning bright and leave the lights off for fifty-one minutes. Because it’ll haunt you for the rest of eternity.

Deerhoof are back, and Deerhoof will never let you down. All hail Deerhoof. Stuart Benjamin is conquered once again by the USA’s greatest alternative band.