The Glaswegians' real USP is the way in which they inject everything they do with equal levels of joyous celebration and outright aggression, conjuring up a uniquely delirious sound throughout this disconcertingly unpredictable, but never less than utterly delightful release.

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.

While the 12 tracks here are built around conventional nu metal structures, what unexpectedly rolls out is a stubbornness and increasing force never present with Evanescence.

Ultimately Immersion adds nothing new to the Pendulum experience, but still sees the band doing what they do best. Go immerse yourselves.

A fine new outing.

Fever is unlikely to win Bullet For My Valentine more respect amongst their peers, but this could be the album to persuade non-believers.

The dark-hued, hard rocking glory of 'Sinead' and the Evanescence-bothering theatrics of 'A Demon's Fate' should draw Within Temptation a wider audience, but it's the ferocious guitar/keyboard attack of the blazing 'In The Middle Of The Night' that might coax most bullet belts out of retirement.

Despite its more slippery moments, Underworld finds Tonight Alive honing in on and owning their identity again; and given the bigger picture, taking a huge step in the right direction.

If there's criticism, it's that Nightmare still falls back on cliches, building with aggressive force to then rely on a safe melodic chorus. However, there's enough of a change to see A7X lash out beyond their core sound, making Nightmare their greatest achievement to date.

A solid if not spectacular release from the king of wail.

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.

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

The frantic, high-pitched vocals of old are still present and correct, but they're also tempered by frequent downbeat melodic refrains, echoing the likes of Nirvana more than, say, The Blood Brothers. Musically too, the band display a staggering diversity.

It's all good fun and makes the most of its human components, but there isn't much here that emerges as truly awe-inspiring or anything else other than a jolly good jam between chums. Of course, if that's all that's needed for Apocalyptica to remain among Finland's most popular imports, then for now, at least, it's still job done.

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.

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.

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.

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.

The album's extended title track take the catchier parts of their newer material (vocalist Chris Conley's infamous Beatles influences seem to mesh much better with their punk rock sound here), and then deliver it so tightly and concisely that it would be a total waste to rehash their glory days.

Provided you don't have an unreasonable dislike of melody, you'll enjoy the majority of tracks on this album. Even if that does make you feel a bit dirty.

Most strikingly, Darkly, Darkly, Venus Aversa displays a masterful control over the multi-faceted Cradle Of Filth sound; brutal vocal gymnastics, skull-rattling double-kicks, symphonic flourishes, dramatic narrative and balls-out axe-slinging all make their presence known, but in a manner which routinely serves to bolster the coherency of the greater whole.

Pop sensibilities like these make some of the rhymes in the lyrics a bit predictable, but as they also result in choruses like those on 'The Joyride' and 'Circle Of Lies', it's forgivable.

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

It's probably about time more people started caring about this band, especially since they deal in the sort of sounds that demand to be taken to heart.

It's a consistently satisfying rock experience.

It won't be to everyone's tastes, but for those who like their metal both heavy and undeniably hook-laden, this is as satisfying an effort as you're likely to find.

This is brave, baffling, bonkers and most importantly, absolutely brilliant. Strap yourselves in, it’s a hell of a ride.

It's not to say Time For Annihilation isn't very good, just if you like Pink and other commercial rock, you're going to love this.