The beauty of their sound is its unpredictability: fragments of rock, metal, folk, punk and pop collide and smash, creating Frankenstein monsters that spark into life and chase you down. And they've never sounded more convincing than this.

Although there are storming successes amongst the album's 11 tracks (such as 'Slaves To Substance' and 'You Only Live Once') The Black Crown falls a fraction shy of the pack-shedding statement it needs to be.

If you're checking out their fifth album to discover groundbreaking, controversial new music, you are a strange individual indeed.

They're back in irresistibly anthemic form, with just the right blend of punk attitude and pop genius.

While tracks such as Broken Home still deliver the crushing might (albeit in a more subliminal fashion) to his other outfit, the recently resurrected Godflesh, there's a sense of hope in the levitation-inducing riffery. Stellar.

Overall, If Not Now, When? is the sound of Incubus coming of age. It's not particularly experimental nor is it completely straightforward but it is concise and a risk that's paid off.

Like Wes Craven reanimating the slasher genre with the Scream franchise, The Black Dahlia Murder play with enough conviction and knowing reference to metal's most spectacular parlour tricks and add enough contemporary muscle to drop your jaw no matter your age.

While forward movement isn't a prerequisite of greatness, Unearth have moved sideways with only partial success.

It's taken Title Fight a good while to release a full album, but it's been worth the wait.

The Computers' impressive debut is a riotous, riff-laden affair.

As ever, their songs are structured, paced and technically advanced in a way that's leagues above much of this genre.

It doesn't shun country influences altogether, mind--when matched to the album's mood and Green's plain-speaking lyrics, they function to add a soulful feel to a set of characteristically lovely, melancholic songs.

So is it any good? Does it matter? Limp Bizkit are bigger than ever before so getcha groove on, stop taking things seriously.

This is still above average dude rock from the Canadian five-piece.

An impressive third effort indeed, designed to compel you to throw your fist skyward and indulge in a good old sing-song.

It's a consistently satisfying rock experience.

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.

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.

All in all, Set The World On Fire sounds a bit like a band having an identity crisis – the sound no longer matches the carefully-created image but the music's decent none the less.

Whatever's being said, though, what's great about The King Blues is that they're always unashamedly frank; with a frontman who wouldn't dream of diverging his accent or over-developing his message, they've set storming music to a totally concise, relevant stream of consciousness.

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

Stripped down to a three-piece since Tyondai Braxton's surprise departure, Battles' sophomore effort may not have a nailed-on stand-out like their debut's Atlas but their dizzying electro-prog has a great deal more focus this time around.

This is ace.

All Time Low's songs are more up-scale and better put-together on this record, and that takes some serious work.

What Fucked Up have done here is to take what they've been honing for the past 10 years and go one better, adding lush female vocals and celestial, electronica-inspired effects in an effort to constantly titillate and surprise.

Closing with the smart anti-hymn 'Glory Hallelujah', England Keep My Bones never falters. The soundtrack to this summer? Screw that--these songs will be soundtracking many of our lives for years to come.

Frontman Dave King's vocal approach now presents itself as one of jaded disinterest, the defiant cries replaced by a sense of wistful reminiscence.

Throw in the stunning power and clarity of Alan Moulder's mix and you have the sound of a band revitalised, re-inspired and highly evolved.