It prises beauty from unimaginable suffering. Make no mistake, Foo Fighters have delivered a masterpiece – one they never would have wanted to have to record, but a masterpiece nonetheless.

For those who like their rock and metal to hit with swift immediacy, Take Me Back To Eden’s hour-plus runtime might prove a bit of a slog, but if you allow yourself to be fully immersed in Sleep Token’s world, the sonic rewards are plentiful.

True, not all these 10 songs are gonna be fan-favourites, but this return at least partly captures the sense of catharsis brought so brilliantly to that stage in South Wales.

There is an explosive exuberance at the heart of Enter Shikari’s superb seventh album.

Attention to detail makes …So Unknown an involving listen, but emphatically doesn’t detract from the band’s primary intention of rearranging your skeletal structure through elastic, chugging riffs and neck-snapping beats.

At an hour-and-a-quarter, like its predecessor, 72 Seasons is a lot to cram in in one go, a marathon. But it slaps consistently, and hard.

Alas, as with other City and Colour albums, this one suffers from moments of terminal blandness.

So Much (For) Stardust does have a foot in a past FOB, but where they're taking you is somewhere you weren't expecting, and it's equally welcome. Just as importantly, they sound like Fall Out Boy again.

It’s hard not to have fun when every track here feels suitably like its own adventure, and impressively still, BABYMETAL sound like they’ve been steering the ship through these parallel universes not for the first time, but for years.

This is extreme music heavy in both sound and content. But this is also part of the strength of the album. It is unflinching in its subject matter and depth of its darkness, just as it is unafraid to be exactly what it is. And that's something quite unlike anything else you'll hear in 2022.

Tantalisingly, this record also feels like the next building-block in a potentially genre-defining body of work. As much as we can’t wait for 100,000 gecs, however, there’s a mountain of fun to be had before we get there.

Dying Of Everything does not match or beat its predecessor, but that is not to say that it is lacking in any department, for it is a crushing slab of the dark’n’hard stuff executed with merciless precision and delivered with a killer mix.

Past //Present // Future dismantles every box the band have found themselves pigeonholed in, and sets them on their own path of integrity and triumph.

They’re making bigger leaps than ever. Even their more familiar-sounding songs show signs of metamorphosis.

Truth Decay is an album that sees You Me At Six grabbing elements from 2014’s Cavalier Youth and 2010’s Hold Me Down. Then it wraps them up into a time capsule of what it means to be a young adult in the ever-difficult 2020s.

Truly emphasising how far they’ve come since emo’s heyday, these songs have as much (or more) in common with alt.pop icons like HAIM, Alanis Morissette or Fiona Apple as even they do with even Paramore’s poppiest ‘rock’ contemporaries like Fall Out Boy and Panic! At The Disco.

One Day is a fearless from a band who punched the clock out cold.

When Måneskin tap into the youthful exuberance and fiery eccentricity that got them here in the first place, though, they’re still utterly unstoppable.

Every Loser is superb. But more importantly it encapsulates Iggy’s essence, not by reframing for a modern audience or pandering to trends, but drawing out the timeless qualities of its author: his anger, his sense of wonder and romance, and his downright strangeness.

The bad news for Disturbed fans, and unsurprising news for their detractors, is that Divisive is an average record. Hearing the first three tracks – opening single Hey You, the leaden Bad Man, and the forgettable title-track – one hopes they’re mere aberrations and that the quality high-octane arena fodder will arrive imminently. Alas, it never does.

This is a great rock album, built on its creators' own terms, and delivered with musical flash, songwriting panache and, at times, immense force.

It feels refreshing, and like a bunch of really good mates have got together to share their experiences with the world. L.S. Dunes could well change the tide on all things post-hardcore.

Cave World is an album brimming not just with colour and life, but also with a sense of striking unease that is pitched somewhere between the deeply sexual and the profoundly sinister. ... That all of this strangeness is carried aloft on a smorgasbord of varying musical styles makes Cave World all the more alluring.

Although it might not set your mosh muscles alight like the coffins on its cover, SMTB have improved their genre-exploring recipe with deeper flavours, keeping you coming back for more.

It’s very pleasantly chill, but after a while it does start to get a touch samey. Still, for those looking for something with vibe firmly in place, as ever, Turnover deliver exactly what you’re looking for here.

Pawns & Kings is classic Alter Bridge – nice big choruses, intelligent lyrics, rock music meant to be played on big stages – but with their muscle properly tearing through their shirts. And though for longtime fans this shouldn't come as a surprise, the level to which they've dived in here still may do.

Thematically taking place over one night, the seven songs that make up Datura are equal parts cinematic, catchy and cool, while also spectacularly showcasing Boston Manor’s creative growth.

It’s a ferocious, fearless record from one of Britain’s best.