The frontman sounds great as ever, as on the powerful ‘Fabuless’ and ‘The Witness Trees’, but his usual conviction isn’t as present and the album feels largely colourless.

Sure, the relative absence of co-frontman Mike Shinoda saps some of the band’s unique character and they get bogged down in sluggish, downcast dirges in the final stretch, but there’s also a sense of liberation running through these 10 tracks; the mark of artists unshackled from their past, stepping into the unknown.

There are enough special moments and poignant observations here to recommend a peek into the gloom.

Though Makes Me Sick is still a fun listen--complete with some brilliant lyrical put-downs, genuinely touching moments and echoes of past glories--it doesn’t quite capture NFG at their life-affirming best.

This is so inoffensive, it’ll be hard for anyone to hate--or love.

Problems arise though when things get overly slow and sad, falling into the trap of alienating coldness. Boucher’s pain is evident for all to hear, but it’s rarely inviting.

Mattie aims to start conversations, change minds and make a difference, and with a collection of tracks that are as catchy as they are provocative, he’s on his way.

It’s a challenging and, at times frustrating listen, with great melodies getting lost amongst the feedback--but it begs your attention nonetheless.

This is the band’s 10th studio album, and it’s chock full of chugging, anthemic rock songs, torn straight from the ’80s airwaves. That’s no bad thing, even if in places, The Trigger Complex does sound lost in time.

For those unfamiliar with the band’s at times world-class back catalogue, this disc is a fine--if fleeting--new entry point.

While the spacious (and slightly dreary) prog textures remain, the lurching riffs of ‘Resurge’ and melodic highs of ‘Ornament’ hit the bullseye; showing how talented these four musicians truly are.

Admittedly, it’s easy to sneer at this album for its lack of diversity, but it’s a tried and tested formula. And, for Airbourne it’s one that works.

For all the album’s heart and scope it does suffer from a lack of fire and fun that made their earlier releases such big successes.

This album does suffer from moments like an indulgent breakdown on ‘River’ and the toothless Brit-rock sentimentality of ‘Home’ but overall, I’m Not Well is full of feeling and an accomplished, homegrown take on an old, familiar formula.

Wade through the filler, and the New York stalwarts haven’t sounded this fun in ages.

A poppier polish, especially vocally, coats this album as they move into catchier, crowd-pleasing metalcore territory with mixed results.

[The production by Danger Mouse] doesn’t make much difference--they still sound exactly the same.

It’s a disappointing, day and night affair compared to the soaring triumph of last year’s ‘Joy, Departed.’

Unfocused and indistinct, this is an awkward transition that skews towards by-numbers radio-rock.

Motionless In White’s third full-length sees them firming up the sound they settled on with last album ‘Infamous’, but with varying degrees of success.

This is a lethargic, dull attempt at writing an album from a band that sound like they’ve forgotten how to do just that.

There’s hope in bouncy standout ‘Carry The Sorrow’, but this album is okay, and not much else.

Reign Of Terror will filter into the middle ground of obscurity amid countless other albums from bands of a similar ilk.

Half-panicked, half-anthemic ‘Runnin’ Scared’ aside, this is all a little meek, but that’s kind of the idea.

It’s nowhere near as hot as the real prime stuff the early ’80s gave us (Poison Idea, Void, Tar Babies, that sort of thing) and still lags behind the young ‘uns who’re keeping the genre fresh and vital.

While not quite as cack as recent efforts by Bad Brains or DYS, it still defies belief that this should ever see the light of day.

Overall, it’s a decent summer barbecue soundtrack, but hardly vintage Sublime.

Ghost B.C.’s first effort at a covers EP is another difficult, tedious listen.