It adds up to another deft, mature and utterly addictive release.

Galloping metalcore anthem ‘You Want Me’ shows flashes of brilliance, too, but it’s difficult to escape the nagging feeling that their fourth record is the sound of a great band spreading themselves far too thinly.

This is a solid album, rife with brooding love metal and big choruses, but while this is HIM’s most accessible album to date it’s also the most unpalatable, as Ville takes one step too many towards self-satire.

The band’s most mainstream offering yet and first for their major label home.

The Texas crew have created a piece of art that probes into what it means to love and be loved with real intent and passion. If you’ve slept on this band up until now, it’s time to change that.

While this may not be the straight-up punk that fans of 2012’s ‘Two Year Plan’ know and love, Such Gold are showing a thirst for progression, and that’s not something to be sniffed at.

What makes Zeroes QC so satisfying is the way in which they've warped and perverted their electronic base.

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

It’s very much the work of a band who are still capable of delivering the goods even after 17 years, while showing the fresh-faced up and comers a thing or two.

All the songs here are concise and to-the-point.

Admittedly, some riffs do feel like re-runs of Korn classics, holding the album back from true greatness. That’s charming in itself, though: reminding us how deeply important this band once were and continue to be.

A blend of electronic beats, keyboard-heavy dance grooves and hip-shaking pop underpinned by distorted guitar lines, this is funky and enjoyable stuff.

Root For Ruin is a worthy continuation of their oeuvre, and a better album than 07's "Let's Stay Friends."

Famously chaotic musical magpies Dana Janssen, Seth Olinsky and Miles Seaton have outdone themselves here in concocting an album almost as enigmatic as its title.

Songs For Singles is unmistakably a Torche record; primal, punishing, yet irresistibly sweet. It may make a mockery of the traditional album format, but then again, would you expect anything less?

This eight-song effort serves as a breathless, panic-inducing assault on the senses; delivering A-grade riffs, punch-in-the-throat immediacy and more ass-kicking per second than many will be able to withstand.

As flashy as ever, the band have shaped their jumble of ideas into a more coherent, if eccentric whole.

Even if it doesn’t all hit the bullseye, at least they’ve dared to stray from the beaten path.

Ordinary Silence is light on gimmicks but big on heart.

All your usual horror and metal needs are catered for, although according to Wednesday 13 the lyrics are more personal this time round.

The Massachusetts five-piece don't hit as many compositional peaks as predecessor Overcome, although tracks like Hold On and The Last Time bridge the gap considerably.

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

Starting off pleasant but eventually becoming a regular stereo occupier, the grungier second half of this release is the better half.

Ixora is an impressive revival that shows there’s life in these stalwarts yet.

While the majority of tracks like ‘FML’ and ‘The Weigh Down’ continue in a similar vein, with crushing slabs of aggression offset by sing-from-the-rooftops choruses, the Aussies venture into less formulaic territory with ‘Forest Fire’ and ‘Give It All’, allowing Let The Ocean Take Me to work out its own identity.

It'll probably help if you're on mushrooms, but nevertheless this is quite something.

Though occasionally difficult to digest, 'Harakiri' is nevertheless a worthwhile and intriguing listen.

The Fatal Feast might fall short of improvement, but for headbanging, whiplash-inducing chaos there are still few better than the Waste.