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

The Massachusetts quartet are back with a new EP that reminds us what made them so exciting in the first place.

The Ohio pop-punks are on their finest form in years here.

Topping 2012’s ‘Get What You Give’ wasn’t going to be easy, but The Ghost Inside have kept up the momentum at the very least.

Above all, Vices & Virtues is a complete package that secures Panic! At The Disco as one of the most forward thinking pop-rock acts around.

Lerner's pop sensibility is still there, but now buried beneath distortion and throbbing bass, making this an intriguing, if not entirely welcoming, listen

It feels like they've truly accomplished what they set out to do.

'Coffee And Cigarettes' and the title track slowly uncurl themselves over the course of a few days and before you know it, it feels like Jimmy Eat World never went away.

ATB have found a collective cutting edge that’s both extreme and versatile.

With The Big Deep they've taken a much more straightforward approach to things than ever before and ended up with a collection of solid, accessible rock songs.

While Dillinger might have become more melodic over their years, they have categorically never softened. There are songs on here that will strip paint at 500 yards, curdle fresh milk and happily go toe-to-toe with the best of their back catalogue. That’s no small accolade.

Stunning.

By the time the closing brass-driven sequences of the 3D-fronted ‘Almost Air’ ebb away, Massive Attack feel like a living, breathing vital force once again.

Frantic opener ‘Praise Poison’ feels like the heaviest song they’ve penned in years, while elsewhere the slow, heavy-hitting riff of ‘Lock & Load’ and the desperate, raking soar of ‘Flyover States’ make this a versatile, and interesting album that manages to combine everything that’s great about this band’s rich back catalogue.

As soulful and finely crafted as their debut of sorts, II is a glorious record.

Nobody does dreamy indie patter quite like this.

It’s the stellar-sounding closer ‘This Place Is Death’ that perfectly demonstrates the striking yet violent contrasts that make album number six a masterpiece.

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.

[A] mightily ambitious, versatile record.

his is polished, assured pop-rock custom built for massive stages and even bigger singalongs, and both are no doubt in the pipeline.

Occupying a middle-ground between the thrashy, riff-a-minute assault of ’95 and the Gothenburg band’s earlier, darkly atmospheric releases, these 13 tracks form a cohesive and consistently evocative whole.

Commercially-driven producers or not, though, the band have a knack for keeping their sound current and contemporary –- while still being reminiscent of their early material.

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.

Free from the shadows of their past, it seems Young Widows have found an infinitely darker place to dwell.

The Australian punks tone down the fury on album two, and manage to achieve so much without it.

A compelling, intricate album in which to lose yourself.

Mr Wylde is onto another grininducing winner here and long may it continue.

It's still apparent that Mogwai have, once again, produced a record of astonishing subtlety.