Guns N’ Roses – review
Guns have stellar moments, but they don't half go on. My Lord, do they go on, writes Ian Gittins
Black Mountain
TJ's, LeedsCanadian stoner rockers Black Mountain take their Sabbath riffola a little too seriously for Dave Simpson
Black Mountain: Wilderness Heart
Stoner riffs coexist with acoustic reveries on the Vancouver band's enjoyable third album, writes Michael Hann
Iron Maiden: The Final Frontier
A bit of editing would have made Iron Maiden's new album into something special, reckons Jamie Thomson
Sonisphere
Knebworth House, KnebworthIt says something about the scale of this operation that Alice Cooper can be enlisted for a warm-up slot, writes Jamie Thomson
Ramesses: Take the Curse
Ramesses use doom metal as a base for something more affecting and substantial than one would expect, reckons Jamie Thomson
Harvey Milk: A Small Turn of Human Kindness
World-weary, sickly and dissonant, yet somehow triumphant, this is a bleakly majestic record from a genre-defying metal band, says Jamie Thomson
Slash: Slash
Axl Rose's old sidekick is back with a bunch of riffs and some special guests. Shame no-one goes the extra mile, says Caroline Sullivan
Exodus: Exhibit B: The Human Condition
Jamie Thomson hears a quarter-century of bad metal melt away before the fury of the California thrash band
Lou Reed’s Metal Machine Trio; Wanda Jackson
Lou Reed revisits his sonically challenging Metal Machine Music, writes Kitty Empire, with rewarding results
Bullet for My Valentine: Fever
It's fun, but Bullet for My Valentine are still metal enough to provoke, says Will Dean
Coheed and Cambria: Year of the Black Rainbow
A prog-metal concept album about a fictional galaxy? Count Jamie Thomson out
Cathedral: The Guessing Game
The doom metal pioneers have made a journey into jazz-inflected joy, says Jamie Thomson
Sunn O))): Monoliths & Dimensions, Necks: Silverwater, Jack Rose: Jack Rose and the Black Twig Pickers
Kitty Empire picks out three of the best overlooked albums of the year
Sunn O))): Monoliths & Dimensions
The most compelling – and important – avant garde record since Love's Secret Domain, writes Jamie Thomson