There are moments, like the echoey, spacious ‘Dead Moon’, when things get eerie and alienated but more often they’re down-to-earth and bluesy, like they’ll stop playing when the beers arrive.

Old fans will lap Rescue up (and rightly so), but there's not much on offer here to entice fresh ears and gain new fans.

It’s bracing, familiar and flat-out exhausting all at the same time.

Prior To The Fire will set the Canadians aside from their peers.

'Coffee And Cigarettes' and the title track slowly uncurl themselves over the course of a few days and before you know it, it feels like Jimmy Eat World never went away.

While the band set themselves up well on songs such as 'I Like Drugs' and 'Just Like Tiger Woods', the record does rely a little too much on no-brainer jokes about girls.

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.

Some of the live tracks on here are a little scratchy sounding but re-worked versions of ‘Great Expectations’ and ‘The Queen Of Lower Chelsea’ quieten any simmering cynicism about the point of this record.

It's a pleasure to report, then, that Hurley is a fine album.

The self-imposed time restraints have merely served to sharpen the quartet's focus in quite glorious fashion.

Though Makes Me Sick is still a fun listen--complete with some brilliant lyrical put-downs, genuinely touching moments and echoes of past glories--it doesn’t quite capture NFG at their life-affirming best.

On his latest solo effort, System of a Down man, Serj Tankian, continues to stride further and further away from the sound that was once his bread and butter.

Of The Blue Colour Of The Sky displays that Damian Kulash and co are perfectly capable of writing more grown-up, experimental material.

Whether it’s thrashier influences on ‘Silver Linings’ or lyrics that casually rip the piss out of their genre in ‘In Light Of Me’, it’s a refreshing listen.

There's been a noticeable progression in sound over the years, but whether it's for the better is debatable. You see, Disguises is neither brilliant or dreadful.

Man Overboard have done a fine job of not only flying the flag high for DIY pop-punk, but also at emerging as the forerunners of the scene.

This is a lethargic, dull attempt at writing an album from a band that sound like they’ve forgotten how to do just that.

Every Where Is Some Where is in turns intimate, expansive, confessional and inviting--thoroughly addictive on the dark, pulsing and urgent ‘Blood In The Cut’, woozily euphoric on ‘High Enough’, playfully political on ‘The President Has A Sex Tape’ and swirling and sultry on ‘You Felt Right’.

They're back in irresistibly anthemic form, with just the right blend of punk attitude and pop genius.

All your usual horror and metal needs are catered for, although according to Wednesday 13 the lyrics are more personal this time round.

All in all, Set The World On Fire sounds a bit like a band having an identity crisis – the sound no longer matches the carefully-created image but the music's decent none the less.

The Hammer Horror synths still jar at times and there are few surprises for long-time fans, but aside from that this is, like its self-titled predecessor, an impressive effort.

Admittedly, some riffs do feel like re-runs of Korn classics, holding the album back from true greatness. That’s charming in itself, though: reminding us how deeply important this band once were and continue to be.

Mr Wylde is onto another grininducing winner here and long may it continue.

Crammed with skyscraping melodies and moments of spine-tingling poignancy, it stands them in the best possible stead for packing out stadiums and headlining festivals in the near future. They’ve fulfilled their side of the bargain with these 10 songs.

Rather than feeling like a mash-up of their favourite bands--which is no bad thing--album two finds the four-man phenomenon firming up their identity and becoming their own band.

With no outside influences to force these leek-lovin’ lads’ song-writing hand, they’ve delivered an album that, although not as polished as previous efforts (but that’s part of the charm), is purely Lostprophets; and the real sound of progress, for sure.

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