While the 15-year-old group may not have explicitly improved their game, Khaos Legions provides a mass of suitably heroic melo-metal anthems. The hardcores will be pleased.

Psychic Babble's debut is proof that being chilled does not equate to being dull.

This album sets the band on their surest footing for years and proves that Anthony Green and friends can still hang. After all this time away, that’s more than enough.

From the breakneck belligerence of ‘Balance The Odds’ to the nostalgic groove of ‘Step To You’, this is the purest strain of hardcore you could possibly mosh your life away to.

It's still heavy, still weird and Jared Warren still sounds like a water buffalo gargling turpentine, and while there might just be four tracks to be had they're still more kingly than 99 per cent of whatever else is calling itself 'rock' music these days.

Everything’s here from a band that still pack arenas, whilst there’s enough progression to ensure they’re ahead of their peers.

It’s another richly woven tapestry of dark-hearted fare which draws on influences as disparate as The Pet Shop Boys and Ministry with aplomb.

Some of his vocal lines seemed rushed and out-of-sync with the American metal chug, but he proves his pipes on a fair number of spots.

An alluring, seductive listen that might take a while to get under your skin, but once there will point blank refuse to leave.

Their songs, while essentially playful and lovable--more so than ever on Vs Evil, the San Francisco band's 10th album, which features near-lounge music moments--have a hard centre and are often tricky to parse, thanks in no small part to Satomi Matsuzaki's lyrics.

Although some of the quieter tracks can overstay their welcome, this is a well-structured album, hopping between these and frantic, uplifting songs.

Helioscope represents another intriguing release from a band who remain a hugely promising proposition.

What this means is that if you find this band annoying, you'll probably hate them 10 times more after hearing Wonders Of The Younger. For the rest of us, there's no denying that 'Rhythm Of Love' and 'Killer' are guilty pleasures in the making--consider us thoroughly killed with kindness.

This album does suffer from moments like an indulgent breakdown on ‘River’ and the toothless Brit-rock sentimentality of ‘Home’ but overall, I’m Not Well is full of feeling and an accomplished, homegrown take on an old, familiar formula.

For those who are not familiar with Monotonix, they're the garage rock band from Israel who are best known for their live sets [...] that leaves this forlorn album reviewer with no visuals nor an earhole full of sweat, instead just 10 songs of crude, cave-art proto-metal and a duty to tell you that actually, Monotonix have a relevance outside of the live context.

There are enough special moments and poignant observations here to recommend a peek into the gloom.

The Constant does what it says on the, er, CD; constantly good, but with more focus it could have been brilliant.

They've not lost their ability to craft subtly alluring, idiosyncratic songs in that time.

This is so inoffensive, it’ll be hard for anyone to hate--or love.

There are enough early anthems included to warrant picking this up, if only as a gateway to their back catalogue.

Sure, the relative absence of co-frontman Mike Shinoda saps some of the band’s unique character and they get bogged down in sluggish, downcast dirges in the final stretch, but there’s also a sense of liberation running through these 10 tracks; the mark of artists unshackled from their past, stepping into the unknown.

Problems arise though when things get overly slow and sad, falling into the trap of alienating coldness. Boucher’s pain is evident for all to hear, but it’s rarely inviting.

As a whole, Close The Distance is a touch lacking for our ears.

This is the band’s 10th studio album, and it’s chock full of chugging, anthemic rock songs, torn straight from the ’80s airwaves. That’s no bad thing, even if in places, The Trigger Complex does sound lost in time.

While this style of Appleseed Cast-esque, classic Deep Elm indie-rock can require a bit more long-term buy-in than noisier, brasher and more immediately gratifying records, the resulting pay-off is rewarding.

It’s a challenging and, at times frustrating listen, with great melodies getting lost amongst the feedback--but it begs your attention nonetheless.

While the spacious (and slightly dreary) prog textures remain, the lurching riffs of ‘Resurge’ and melodic highs of ‘Ornament’ hit the bullseye; showing how talented these four musicians truly are.

It doesn’t deviate much from the well-worn blueprint that the band have stuck to throughout their career, but when your music is this deliciously punishing why would you change?