Beach Slang’s second full-length does a stellar job of building on frontman James Alex’s knack for storytelling.

The fluidity is back, all the parts gelling easily into a whole.

Overall, whatever you think of their craft, they've mastered it; this writer's mentioned almost every track on the album to hold up this review--and that's got to be a good sign.

Loaded with heady guitar trips and crunching grooves, all topped off with flamboyant frontman Scott Weiland’s soulful vocal (which sounds all the better for his newly cleaned-up lifestyle), this is classic STP.

Gut-busting, heart-wrenching and captivating from vicious beginning to devastating conclusion, the likes of ‘Cannibals’, the jolting ‘Arkhipov Calm’ and beautifully excruciating title track capture the band at their most ambitious and dominant.

A fine new outing.

A brief but superb collection, this cements them as one of the most compelling acts in their genre.

It's good--really good--but only if you want it to be.

Alkaline Trio aren’t naïve punk rockers from the Chicago suburbs anymore, as a result this album fails to recapture that innocence but succeeds in creating another strong body of work that the group can be proud of.

All 10 tracks here bear such scars, adding up to a staggering work of honesty, beauty and artistic achievement. It’s hugely impressive on those terms alone... but even more so given everything PVRIS endured in its creation.

Say Anything have always been a hard pill to swallow for some, and while Anarchy doesn't change that, it shows that they have far more than just the one spanner in the toolbox.

Safe In Sound’ is clearly engineered for the airwaves; almost every song produced and polished to within an inch of its life. ... That’s not to say that Safe In Sound is without its triumphs – there’s still an abundance of riches to enjoy here.

A stunning opener to the album, its dynamic range, gleaming melody and driving anthemic nature exemplify what this band was always all about.

Though nowhere near the monolithic, bottled lightning of ‘The ’59 Sound’, this is a return to the Brian Fallon the rock world fell trucker caps over Chuck Taylors in love with.

Opener ‘Sponge’ leads off the cracking first half before a handful of (even) more introspective numbers add the expected emotional weight.

This brief addition to their canon might consist of just four songs, but it's a potent reminder of why we love them.

It's a gruff affair, yet Caruana's trademark gritty-subject-matter-meets-treacle-thick-melodies shines throughout, and marks a welcome return for I Am The Avalanche.

'No Answers' reassures any doubt that Thursday have taken a new direction, with Cure-esque moments creeping in amidst their hardcore backbone. And guess what? This is Thursday leading what they now do best.

All told, this is an almighty beast of a record--yet another in the now bulging Biffy Clyro canon. They’re well and truly settled into a creative groove now, making the improbable seem like a reflex, as easy and instinctive as breathing.

With no reason to buck the trend, Damage very much continues the Arizonan four-piece’s reliability streak.

With Brendan O'Brien (Pearl Jam, AC/DC) producing, Stephen Christian's vocals cry out louder than ever across closer 'Depraved' and it proves that five albums in Anberlin have moved beyond the light of 'New Surrender' to dabble with a more interesting, darker edge that borders on Circa Survive.

Still shrouded in mystery yet sounding clearer in their intentions than ever before, the familiar mix of strained vocals, propulsive yet unobtrusive instrumentation and haunted piano refrains serve as a perfect example of why we missed them so damn much in the first place.

Ultimately Immersion adds nothing new to the Pendulum experience, but still sees the band doing what they do best. Go immerse yourselves.

This is a superb record and WWPJ are one more example of just how spoilt we are by British rock music at the moment.

The riffs, breakdowns and complex time signatures thrown into 'Sleeping Giants' and 'Ghetto Ambience' lend the album a raw, live feel that's groundbreaking for any genre.

Beartooth are a band that truly deliver songs for the disenfranchised.

Though perhaps overly mechanical, Vengeance Falls remains compelling and staggeringly textured.

It’s the newfound multi-layered vocals of Mike Hranica and Jeremy DePoyster that give tracks like ‘War’ and ‘Sailor’s Prayer’ a compelling dexterity of textures and allows each track to venture into previously uncharted territory with the utmost conviction.