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Review: Originally released in 1995, Dogs Of War served as the 12th full-length from Barnsley metal legends Saxon, and not only marked a pivotal sonic turn towards embracing a more anthemic hard rock-tinged approach than ever previously heard, but also a major line-up shift. Cutting founding member Graham Oliver's almost two decade tenure short by one year, the LP would be the guitarist's last with his bandmates after it was discovered that he had overseen the sale of a 1980 live bootleg to which he kept all profits. Not very cool, and not very metal, but thankfully his last licks across this record are very much both.

Review: Following on from 1989's majorly successful and admittedly more commercial sounding fourth full-length Intuition, Trondheim glam metal-tinged hard rock heroes TNT would find themselves on the radar and eventual roster of Atlantic Records, who in 1992, would distribute the band's fifth album and first on the major label, Realized Fantasies. Praised by fans for its exceptional production with ludicrously bombastic percussion the whole way through, the project saw a sonic retracing of their more hardened edges, so as not to lose sight of their creative prowess. That being said, cuts such as the cheerful 'Easy Street' and epic ballad 'Lionheart' seem like they were purposefully designed to keep snooting record label execs off their proverbial backs. Never mind what glassy eyed nostalgia-baters say, Realized Fantasies goes hard as hell while delivering barrages of riffage, melody and playfully epic grandeur.

Review: Not including the 2000 Diamonds & Nuggets compilation, 2001's Killing Ground would mark the first album of the 21st century, and 15th overall full-length from Barnsley metal titans Saxon. Distancing themselves sonically from the more hard rock-oriented approach taken on Dogs Of War or Unleash The Beast, the material here felt like a purposeful re-shift towards classic metallic song structure, complete with frenetic riffage and epic compositions. Most notable for offering easily the best latter day cut from the legends with 'The Court of the Crimson King', as well as serving as the last entry from drummer Firtz Randow, Killing Ground triumphed where so many seasoned metal veterans falter, by marrying their long-established sonic ethos to modern techniques whilst retaining their identity.

Review: A great choice by Music On Vinyl - whom at this point have proven their mettle at sating the desires of almost any type of past music enjoyer - Chapterhouse's 'Whirlpool' is the debut studio album by the English shoegaze band, and thoroughly deserves this case of retrospection. In just nine tracks, the quartet of Andrew Sheriff, Stephen Patman, Simon Rowe and Ashley Bates established a hugely maximal sound, stylistically nailing the form by pairing its vacuuming vocal washes with more propulsive, hard-limited mixes and masters, informed by industrial and dance music most notably. Contemporaries of similarly tersely-named bands like Lush, Moose, Ride and Curve, Chapterhouse were indeed the most multi-syllabic, not to mention least restrained band out at the time; standouts 'Pearl', 'Autosleeper' and 'Falling Down' nailed the explosion of '90s indie ferment and the overflow of emotions that came with the decade.

Review: Cuckoo was their second full length from Curve - Toni Halliday on vocals and guitar with Dean Garcia - and saw its release in 1993. This album was heavier, focused and featured stronger, more aggressive rhythms that evolved from their first album. Heavily influenced by bombastic urban and electronic beats but favouring shoegaze effects on the guitars, making for a unique combination that made Cuckoo stand out from the rest, ultimately predating similar sounds from bands like Garbage. This album holds key tracks like the amazing 'Men Are From Mars, Women Are From Venus' as well as the singles 'Missing Link' and 'Super Blaster'. The effects of Curve are still being felt today by those who discover them and fans of the producer Flood should definitely be aware of this album if they are not already. This reissue comes on limited numbered 180- Gram pink & purple vinyl LP complete with an insert.

Review: It could have all been so different when Death In Vegas first formed. Richard Fearless and Steve Hellier spawned the project in 1994 and got signed under the name Dead Elvis, but legal wrangling got in the way and they used the name for their debut album instead. Now Music On Vinyl have repressed the 1997 classic so we can revel in the grizzled take on big beat and trip hop the pair cooked up. It's very much of its time, but there's a snarl to the production which sets Death In Vegas apart from their peers at the time, opting for the dive bar ambience over the festival main stage you'd hear when playing The Chemical Brothers or Leftfield. For that reason Dead Elvis has aged very well indeed.

Review: English heavy-metal band Diamond Head was formed in Stourbridge by guitarist Brian Tatler and drummer Duncan Scott in 1976. Part of the new wave of British heavy metal, even the most famous bands in the category - Metallica, Megadeth, etc. - acknowledge Diamond Head as among the few pioneers to popularise the sound after a long nascence, not to mention their creditors. On Borrowed Time, one can hear that Diamond Head are still informed by ballad rock, highlighting the mid-heyday developments of the sound in the 1970s. Now reissued by Music On Vinyl, this edition is faithful to later versions, adding their signature song 'Am I Evil?' into the mix; the cherry on top to an already amazing, formative heavy metal album.

Review: Barnsley heavy metal legends Saxon originally released their 11th studio album Forever Free in 1992, though it would be quickly reissued in the UK with an alternate Warhammer 40,000 inspired cover including a biker Space Marine. Reissued by Demon over a decade ago on CD, a vinyl repress is long since overdue and now the beautiful people over at Music On Vinyl have opted to re-distribute the underrated seasoned gem on translucent blue vinyl with the 180 gram numbered audiophile treatment. Reliably mammoth riffs and soaring hooks abound, though the project is most noted for featuring an eclectic reimagining of Willie Dixon's blues classic 'Just Wanna Make Love to You', popularised by the incomparable Muddy Waters.

Review: Hailing from Anchorage, Alaska, 36 Crazyfists have long since smashed the through the barriers of metalcore, post-hardcore and alternative metal to achieve a renowned status for fans of the vast majority of chaotic carnage, in almost a Venn Diagram style intersection. Following on from 1997's self-released demo album In The Skin, the band would sign to Roadrunner Records for their major label debut Bitterness The Star in 2002; a project frontman Brock Lindow continues to consider his personal favourite. Over two decades on from initial release, the beautiful people over at Music On Vinyl are offering a long awaited reissue of this seminal beast on a lush 180 gram audiophile translucent blue vinyl LP, with each copy individually numbered for that additional collector's high.