For those unfamiliar with the band’s at times world-class back catalogue, this disc is a fine--if fleeting--new entry point.

Amoral proves that Violens will stand proud knowing they can give a name to their organized mess, even if they don't know what it is yet.

Expect polished fare awash with slick harmonies, clean guitars, heavy drumbeats, giant hooks and an unadulterated wall of gleaming pop.

Earworms are decidedly less abundant than normal, though, sad to say.

Wade through the filler, and the New York stalwarts haven’t sounded this fun in ages.

Admittedly, it’s easy to sneer at this album for its lack of diversity, but it’s a tried and tested formula. And, for Airbourne it’s one that works.

At times, the quintet deliver the solid grooves and renowned, catchy singalong choruses that have engaged their adoring fan base, but for too much of the time Ungrateful sounds a bit flat and tired.

It’s nowhere near as hot as the real prime stuff the early ’80s gave us (Poison Idea, Void, Tar Babies, that sort of thing) and still lags behind the young ‘uns who’re keeping the genre fresh and vital.

Motionless In White’s third full-length sees them firming up the sound they settled on with last album ‘Infamous’, but with varying degrees of success.

A poppier polish, especially vocally, coats this album as they move into catchier, crowd-pleasing metalcore territory with mixed results.

For an album that led the charge in early-’00s pop-punk, it’s worth a spin or two, if only for the memories it’ll bring back.

The frontman sounds great as ever, as on the powerful ‘Fabuless’ and ‘The Witness Trees’, but his usual conviction isn’t as present and the album feels largely colourless.

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.

Unfocused and indistinct, this is an awkward transition that skews towards by-numbers radio-rock.

Not good, not bad, just is.

Frontman Dave King's vocal approach now presents itself as one of jaded disinterest, the defiant cries replaced by a sense of wistful reminiscence.

There’s hope in bouncy standout ‘Carry The Sorrow’, but this album is okay, and not much else.

This is a difficult album to love... the overriding impression is of a not entirely pleasant sugar rush.

For all the album’s heart and scope it does suffer from a lack of fire and fun that made their earlier releases such big successes.

Suffice to say, the once-beloved Kansas City quintet are not Radiohead, and whilst they may have left their pioneering, emo-infused pop-punk behind over a decade ago, nothing quite prepares the listener for the insipid snooze-a-thon they've concocted here.

Trouble is, after one listen it becomes evident that MB hardly benefit from further investigation – they’re just another hipster band who got lucky.

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.

It is with frightful ease that one can declare 'Days Go By' as a parody of the efforts which came before.

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

One can’t help wish for less social commentary, and more hands-in-the-air/ feet-in-the-moshpit bangers.

Ghost B.C.’s first effort at a covers EP is another difficult, tedious listen.

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.

It’s a disappointing, day and night affair compared to the soaring triumph of last year’s ‘Joy, Departed.’