Justifies the hype.

Say Anything have always been a hard pill to swallow for some, and while Anarchy doesn't change that, it shows that they have far more than just the one spanner in the toolbox.

This is a deafening, destructive and devilishly diverse affair, serving as a firm and timely reminder that when it comes to this particular game, nobody does it quite like this.

The Hammer Horror synths still jar at times and there are few surprises for long-time fans, but aside from that this is, like its self-titled predecessor, an impressive effort.

Their jangly indie-rock explores the journey of two twin brothers separated at birth through a procession of the schizophrenic ('Drunken Birds') and the more accessible ('Warmer Warmer') with largely satisfying results.

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.

This is a classic Bosstones album; a record that rises above the notion of categorisation and which anyone with a pulse will find it impossible not to warm to.

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

Angry and scathing, Radke's return is welcome.

It sounds ferocious and is going to have you feeling filthy and dealing with tinnitus afterwards, but nothing's going to stop you from rocking.

Relentless Reckless Forever, the band's seventh album, is more of the same but faster and stronger.

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

Although some of the quieter tracks can overstay their welcome, this is a well-structured album, hopping between these and frantic, uplifting songs.

It's a gruff affair, yet Caruana's trademark gritty-subject-matter-meets-treacle-thick-melodies shines throughout, and marks a welcome return for I Am The Avalanche.

TTNY show flashes of quality that are as good as pop-punk gets.

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

Psychic Babble's debut is proof that being chilled does not equate to being dull.

You figure they should know what they're doing by now and the former members of JR Ewing and Amulet certainly illustrate their capabilities.

Five Serpent's Teeth is 100 per cent square in the Evile MO: twisted kinetic riffs from the Brothers Drake push the needle into the red before resolving themselves in anthemic choruses.

Their name might suggest one thing, but this lot are definitely not going around in circles; this is their best record yet.

Granted, in the more ballady numbers such as 'All Or Nothing', things delve into slightly forgettable power-pop territory, but overall there is enough substance here to credit this as a decent debut effort.

The Deth's 13th album (how'd you guess?) gravitates between classy thrashers and hokey anthemic rock with scorching guitar work and Mustaine's snarling voice expectedly leading the charge.

It's good--really good--but only if you want it to be.

It's noticeably darker than '09s Attics To Eden, but they've strategically kept their arrangements succinct and tight to keep their signature catchiness.

A fine new outing.

While it's not a groundbreaking redefinition of what metal should be, it's a firm statement of intent from the London-based quintet.

This is a superb record and WWPJ are one more example of just how spoilt we are by British rock music at the moment.

There is a sense of funk and bounce characterised by RATM on display here that gives the songs an underlying sense of conviction on top of Morello's already biting vocal approach.