Whitechapel are one of the best and downright annihilating bands their field.

A lofty debut effort indeed.

This is perhaps BTBAM's most compact, streamlined effort to date, and despite the convoluted, sci-fi indebted concept which forms its lyrical foundation (Google it), this is a seriously aggressive half hour of power.

Circa Survive have managed to stay both relevant and utterly compelling – not just surviving but thriving.

It all combines to make Citizen’s gloomiest, most atmospheric record yet--and also one of the most disturbing of the year so far. It’s a memorable journey.

A stunning opener to the album, its dynamic range, gleaming melody and driving anthemic nature exemplify what this band was always all about.

Continuing where the dark grooves of 8's Nude With Boots left off, The Bride… exhibits the perfect marriage between the Big Business boys and Melvins main-men King Buzzo and Dale Crover.

There's enough excitement and progression here to make Chasing Ghosts a worthwhile look.

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.

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.

Beastmilk have created a seductively dark slab of post-punk which manages to not take itself too seriously, while still being brilliant enough for it not to become comical. And that’s a fine balance.

Closing with the smart anti-hymn 'Glory Hallelujah', England Keep My Bones never falters. The soundtrack to this summer? Screw that--these songs will be soundtracking many of our lives for years to come.

Ferocious and beautiful--Funeral For A Friend sound more like themselves than they have done in years.

True, at an hour-plus, only myopic fans would contest Forgiveness drags a little by the end, albeit brightened by penultimate Pavement-a-like ditty 'Water In Hell'.

The eagerly anticipated album from London based indie-rock three-piece The Joy Formidable far exceeds all expectation.

Is ninth record ‘Everything Will Be Alright In The End’ in the same league as 1994’s Blue Album or its follow up ‘Pinkerton’? Not quite, but it gives it a good go.

Ixora is an impressive revival that shows there’s life in these stalwarts yet.

It adds up to another deft, mature and utterly addictive release.

Those of thinkers Catherine Keller and Gaston Bachelard--are more complex than you might at first imagine, making Asleep On The Floodplain an album whose surface you can lazily drift upon or one into which you can dive as deep as your lungs will allow.

Rave Tapes is a diverse and supremely confident record.

While hardly what you’d call commercial, ‘Oversteps’ contains some of the pair’s most approachable material for aeons, with their usual alien and sometimes hostile soundscapes peppered with vibrant melodies, particularly on the swirling brooding ambience of ‘Ilandrers’ and bright, fizzing ‘Treale’.

The melodies are huge, the hoarse vocals are fairly infrequent – but this is probably one of the most punk rawk albums Rise Against have recorded.

Front-loaded with jagged riffs and the squalls of Matt Shultz, this is storming.

It's a frenetic, hugely entertaining and inventive genre mash-up full of punk rock aggression and rock 'n' roll swagger that blends inventive chaos with a real ear for melody.

One of punk’s few great constants, the Chicago four-piece are back and as furious as ever with this eighth album. As you’d expect, they don’t fumble the ball.

This is music that creates a vortex in your brain, sucking the entire cosmos in through one ear and out the other, leaving behind only the secrets of the universe and the unerring tranquillity of space. Yes. It really is that good.

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

Glasgow’s finest nerdtronica--in the sense they’re slavishly dedicated to unveiling ever-intricate ways to make us shake a leg – quartet have returned with a second album that takes the charm of their debut and cranks up the rave factor.