Justifies the hype.

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

This album sets the band on their surest footing for years and proves that Anthony Green and friends can still hang. After all this time away, that’s more than enough.

Even if it doesn’t all hit the bullseye, at least they’ve dared to stray from the beaten path.

Safe In Sound’ is clearly engineered for the airwaves; almost every song produced and polished to within an inch of its life. ... That’s not to say that Safe In Sound is without its triumphs – there’s still an abundance of riches to enjoy here.

It sparkles with invention, creativity, crushing use of dynamics and, when all's said and done, just really strong songs.

More than a decade on from ‘Orchestra Of Wolves’, Frank is still singing from a different hymn sheet to everyone else, and that’s well worth celebrating.

Merging brittle, jittery riffing, fraught tremolo-picked flutters with mesmeric drum patterns and tense, semi-spoken vocals the result is as resounding a success as ever and a reassuring testament to the ongoing fertility of the Louisville underground.

It's far from easy listening but it's an approach that's won them legions of devoted fans in the process and comes close to reducing many of their peers to nothing more than musical footnotes in the larger scheme of things.

The Human Romance is how metalcore should be: layered, dynamic, passionate. Easily the best Darkest Hour have been since "Undoing Ruin."

This preposterously technical mish-mash of progressive metal, full-throated hardcore, operatic female vocals and lounge jazz interludes triumphantly evidences a band taking an absurd amount of joy in kicking against the pricks.

Without the hands of major label henchmen edging them into the most marketable direction, there's an overwhelming feeling that consumes you when listening to Don't Panic that they've had more time, more room to breathe, and more fun this time around.

It’s impossible not to admire the scale and ambition of what Sleeping With Sirens are trying to achieve here, so don’t be too surprised if they’re swapping Warped Tour for arenas before too long.

At times the results are exhilarating, as on the superb ‘Moth Into Flame’ and doomy death-march of ‘Confusion’--written from the perspective of a soldier with post-traumatic stress disorder--but there’s a smattering of filler, too. Too many tracks outstay their welcome by a matter of minutes.

It’s an album dripping with class, craft, heart and soul and Deaf Havana’s most accomplished to date--a step out of their comfort zone and a step up in every regard.

All told, this is an almighty beast of a record--yet another in the now bulging Biffy Clyro canon. They’re well and truly settled into a creative groove now, making the improbable seem like a reflex, as easy and instinctive as breathing.

Throughout, the highs are tinged with sadness and the lows with hope, making Simple Math a complex and rewarding album that soars above the pack.

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

While this may not be the straight-up punk that fans of 2012’s ‘Two Year Plan’ know and love, Such Gold are showing a thirst for progression, and that’s not something to be sniffed at.

While Sean Slug Daley's heartfelt lyrics, reflecting humorously on fatherhood, love and loss, are given full vent by producer Ant, the addition once again of keyboardist Erick Anderson and guitarist Nate Collis brings Atmosphere's trademark sound to another level.

This record will reward repeat spins generously.

The resulting sound is one of wistful melancholia, designed for dark rooms, loud headphones and the flickering feeling that while life can be shitty at times, there’s always a chance to find happiness.

While several tracks would sit comfortably on a Best Of ...Trail Of Dead playlist Tao Of The Dead certainly feels like their most consistent collection in years.

There's no let-up, no pretty acoustic interludes, just full-on musical onslaught.

ATB have found a collective cutting edge that’s both extreme and versatile.

The Summer Set have conjured up a bubblegum-stained blast of modern pop rock that sounds just as good at the start of the weekend as it does at the end.

While they continue down a more measured, accessible route--calling to mind everyone from The Clash to Rancid--there’s a freshness to the anarchy this time. Here’s a welcome beacon of hope.

This is a worthy follow-up. Its 12 sultry, sumptuous songs see Brennan Greaves and Britty Drake swap turns singing over a wash of fuzzy, forlorn guitars.