New releases last four weeks: All genres

Review: Originally released at the turn of the new millennium, America's Volume Dealer marked the sixth full-length from North Carolina sludging southern metal legends Corrosion Of Conformity, and would be the last to feature longtime drummer Reed Mullin before his return a decade later in 2010. Noted for being the band's most accessible or "radio-friendly" project due to the more polished production and increased reliance on melody, there's no denying that while the dank stoner-heft grooves of old are largely absent, the more alternative rock-leaning approach to their signature brand of metallic, southern blues, in hindsight, was a remarkable breath of fresh air within their back catalogue.

Review: Originally released in 2005 as the follow up to the more accessible, melodious alt rock endeavour that was 2000's America's Volume Dealer, the seventh full-length from Raleigh, North Carolina stoner/sludge legends Corrosion Of Conformity, boasting the epic title In The Arms Of God, would take a half decade of introspection and self-reappraisal to materialise. Rediscovering their incomparable knack for hefty trudging riffs that displace the Louisiana bayou blues to caverns of beer-soaked sludge, for many the album signalled a return to form with both critics and avid fans celebrating the band's more corrosive elements once again. The only project not to feature drummer Reed Mullin as this was during his sabbatical from the group, while most notably being the final work with primary songwriter and overall mastermind Pepper Keenan until his glorious return on 2018's No Cross No Crown.

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: 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: 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.