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.

The fact that this album is full to bursting with ideas means there are almost certain to be missteps, but the likes of acoustic-led snorefest ‘Father / Son’ are thankfully few and far between on this bracing debut.

No, this isn’t Weezer at their world-altering best, but it is the sound of a band who have at least re-opened the door to the cupboard where their magic formula is kept.

This record manages the remarkable feat of balancing true integrity with universal appeal.

Half-panicked, half-anthemic ‘Runnin’ Scared’ aside, this is all a little meek, but that’s kind of the idea.

Throw in the stunning power and clarity of Alan Moulder's mix and you have the sound of a band revitalised, re-inspired and highly evolved.

With Brendan O'Brien (Pearl Jam, AC/DC) producing, Stephen Christian's vocals cry out louder than ever across closer 'Depraved' and it proves that five albums in Anberlin have moved beyond the light of 'New Surrender' to dabble with a more interesting, darker edge that borders on Circa Survive.

Hope is the soundtrack to the summer you've not yet had, and from here it sounds like it might be the best one yet.

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.

Coheed And Cambria are always at their finest when they're being dramatic, and as such 'Year Of The Black Rainbow' is possibly their best record to date.

Bearing the smart but dark pop hallmarks of bands like The Cure and Echo And The Bunnymen, it’s astonishing how the L.A. foursome’s fusion of disco, funk and hot gothic takes sounds so fresh in 2017, 30-odd years after that stuff’s heyday.

It'd be a far easier listen if it was a proper studio release.

Stoke Extinguisher offers both food for thought and fuel for the pit; cheap gags jostle for space with anti-establishment rhetoric and a wry sense of self-depreciation.

The Final Frontier might sound alien at first, but Iron Maiden's DNA is splashed all over it.

Heritage is an infinitely more audacious beast, full of jazzy noodling, serpentine guitar leads, folky introspection and general acid-drenched freakiness.

There's enough originality to warrant a second look, though, evoking the epic soul of the infamous The Haçienda club with percussive clatter overseen by techno producer Ewan Pearson.

With no reason to buck the trend, Damage very much continues the Arizonan four-piece’s reliability streak.

Angry and scathing, Radke's return is welcome.

It's hard to fathom how Bardo Pond have made their life-in-a-lava-lamp jams for the best part of 20 years with--we're assuming--their marbles still intact, but here they are, bubbling away with no sign of letting the quality dip.

While the 15-year-old group may not have explicitly improved their game, Khaos Legions provides a mass of suitably heroic melo-metal anthems. The hardcores will be pleased.

There's nothing immediately wrong with Perch Patchwork--'Living Decorations' and 'Israeli Caves' are serviceable indie rock tunes, and 'Was' is a teasingly low-key ditty--but the core of the album is eminently forgettable.

The latest album from St Louis, Illinois, quartet So Many Dynamos is definitely a keeper.

It's quite good.

Asylum won't set the world alight, but it's certainly not monotonous enough to send anyone to the madhouse.

Nothing Earth-shattering, but enough solid riffs and spiffy one-liners that won't seem too out-of-place during a headlining set.

King Animal doesn't hit as hard as their really early material, but it's well-paced.

Loaded with heady guitar trips and crunching grooves, all topped off with flamboyant frontman Scott Weiland’s soulful vocal (which sounds all the better for his newly cleaned-up lifestyle), this is classic STP.

Mechanize is without doubt their heaviest and most powerful, and considering the stark, foreboding lyrical subject matter it seems totally relevant that it should be. A truly emphatic return.