Kaleide runs out of steam towards its close--heaven knows why the original, blustery version of "Smarts" has made way for a sombre reworking--but it's still an enjoyable, grown-up follow-up to the band's debut.

This album does ooze quality though and has enough flourishes of originality to keep the quartet moving forward, but perhaps even more importantly for the band, their fans (and us, for that matter), the wait is over.

The riffs remain as ample and hard-hitting as ever, and with Matt Bayles (Isis, Mastodon) handling the production, The Sword have never sounded better.

It may not be pushing the boundaries, keeping much of the stylisations of the band's debut, but the sum really is as great as all of its parts.

Partycrasher is still overflowing with singalong moments and air guitar opportunities that should remind you why A Wilhelm Scream are one of the best punk bands we’ve ever had.

As usual, chaos and consistency make for a winning combination.

The Menzingers' third album sees them take their slightly atypical song structures (they're not much into the verse / chorus / verse way of thinking) and make them catchier than ever.

A lofty debut effort indeed.

The Glaswegians' real USP is the way in which they inject everything they do with equal levels of joyous celebration and outright aggression, conjuring up a uniquely delirious sound throughout this disconcertingly unpredictable, but never less than utterly delightful release.

The Shadow Side contains some of the best material the man has been responsible for and proves Mr Biersack is one of the most captivating figures in music today.

Fever is unlikely to win Bullet For My Valentine more respect amongst their peers, but this could be the album to persuade non-believers.

This record is the result of Finn turning his hand to songwriting for the very first time and, yes, he's nailed it.

A great introduction to a band destined for very good things indeed.

Angry and scathing, Radke's return is welcome.

Without the hands of major label henchmen edging them into the most marketable direction, there's an overwhelming feeling that consumes you when listening to Don't Panic that they've had more time, more room to breathe, and more fun this time around.

This is perhaps BTBAM's most compact, streamlined effort to date, and despite the convoluted, sci-fi indebted concept which forms its lyrical foundation (Google it), this is a seriously aggressive half hour of power.

While it’s not the career-defining milestone that some were anticipating, this album still offers up enough melancholy mayhem to keep ADTR ahead of the chasing pack.

Chuck Ragan's third full-length solo release, oozes blue-collar charm.

An outstanding return.

Crossfaith’s debut full-length, Apocalyze proves more than worthy of the hype surrounding them.

American Capitalist announces them as the world champions at post-Black album piledriving riffs and soaring, US radio-friendly melodies.

Memphis May Fire are stepping it up with every release.

With power chord hooks and a newfound innocence, this is a side of The Bronx you’ve yet to hear.

Justifies the hype.

Lonely The Brave haven’t just succeeded in proving they were no one trick wonders here, they’ve gone and pulled another rabbit from the hat.

Super producer Ross Robinson has been given the unenviable task of bottling lightning, and he's certainly earned his money this time round; from Jonathan Davis' tortured, primal yelps to the pounding drums and a bass sound that ebbs and flows violently through your extremities.

It’s a clutch of sharp, abrasive punk anthems, underpinned by tight, funk-tinged rhythms.

This time around there’s more screaming and distortion a la ‘Jupiter’-era Cave In (‘The Refusal’), which somehow compliments the more melodic tracks here and only adds to what’s on offer.