Common Courtesy is not the end of this band. If anything, it’s their new beginning.

Overall, it’s an impressive progression on all counts.

A stinging reprise of ’93’s ‘American Jesus’ serves as a timely reminder that these perennial bastions of articulate dissent haven’t gone soft on us quite yet.

It’s not a progressive album per se, but The Finer Things is a bar-raising attempt at revolution in pop-punk.

Philly troubadour Dave Hause’s sophomore platter manages to stand proud while casually dipping into drive-time radio (‘Same Disease’) and blue collar balladry (‘Before’).

While it doesn’t quite compete with the very best their genre has produced this year, There Used To Be A Place For Us slots comfortably into the folder marked Perfectly Acceptable 2013 Pop-Punk.

The post-hiatus band are still angry and have something to say.... Welcome back, gang.

Korn’s follow up to ’11’s dubstep-infused ‘The Path Of Totality’ is a completely different monster to its predecessor, and for all the right reasons.

Though perhaps overly mechanical, Vengeance Falls remains compelling and staggeringly textured.

Short of any psychotropic assistance, Wild Light is a credible substitute for nirvana, demanding you suspend your disbelief and just jump in feet first, setting yourself free from all corporeal existence.

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

Crossfaith’s debut full-length, Apocalyze proves more than worthy of the hype surrounding them.

It’s their use of modern electronica (‘Unmade’) and metalcore crunch (‘Paper Thin’) that asserts this as bleeding-edge relevant, and there’s enough spark here to suggest they could turn into more than a nostalgia trip.

It’s the newfound multi-layered vocals of Mike Hranica and Jeremy DePoyster that give tracks like ‘War’ and ‘Sailor’s Prayer’ a compelling dexterity of textures and allows each track to venture into previously uncharted territory with the utmost conviction.

48 minutes that will go down among the very best of this year.

While this style of Appleseed Cast-esque, classic Deep Elm indie-rock can require a bit more long-term buy-in than noisier, brasher and more immediately gratifying records, the resulting pay-off is rewarding.

For an album that led the charge in early-’00s pop-punk, it’s worth a spin or two, if only for the memories it’ll bring back.

If you had ever written the band off or traded them in for a younger model, this is the record that will force you to reconsider and repent.

11 tracks with all the anguish that melodic hardcore thrives on, but with enough testosterone to keep it on the right side of whiney.

It sees the band sounding tighter and more confident than ever on the likes of ‘Reading Youtube Comments’ and probable live favourite-to-be ‘Donny’s Woods’.

Not good, not bad, just is.

These are songs of excruciating truth, eternally relevant and assembled with no lack of heart.

Ordinary Silence is light on gimmicks but big on heart.

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

Furiosity is crass, it’s rowdy, and it’s totally unoriginal but in the best kind of way.

Uneasy listening doesn’t get much better.

TesseracT have taken the djent blueprint and, barring occasional plunges into riff soup, have re-engineered it into a living, breathing, emotive display of rousing poly-prog.

While A Nation Sleeps is typically impassioned, excellent stuff that marries wretched, raw aggression and political indignation with massive melodies that are just on the right side of cheesy.