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.

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.

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

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

This is the band’s 10th studio album, and it’s chock full of chugging, anthemic rock songs, torn straight from the ’80s airwaves. That’s no bad thing, even if in places, The Trigger Complex does sound lost in time.

This is so inoffensive, it’ll be hard for anyone to hate--or love.

While the spacious (and slightly dreary) prog textures remain, the lurching riffs of ‘Resurge’ and melodic highs of ‘Ornament’ hit the bullseye; showing how talented these four musicians truly are.

[The production by Danger Mouse] doesn’t make much difference--they still sound exactly the same.

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.

The Constant does what it says on the, er, CD; constantly good, but with more focus it could have been brilliant.

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

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

Some Kind Of Hate is at its best when it doesn't take itself too seriously.

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

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

There are enough early anthems included to warrant picking this up, if only as a gateway to their back catalogue.

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.

It doesn’t deviate much from the well-worn blueprint that the band have stuck to throughout their career, but when your music is this deliciously punishing why would you change?

Reign Of Terror will filter into the middle ground of obscurity amid countless other albums from bands of a similar ilk.

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.

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

Murdered Love is a perfectly enjoyable and easily digestible slice of rap-metal.

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

What this means is that if you find this band annoying, you'll probably hate them 10 times more after hearing Wonders Of The Younger. For the rest of us, there's no denying that 'Rhythm Of Love' and 'Killer' are guilty pleasures in the making--consider us thoroughly killed with kindness.

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

Overall, it’s a decent summer barbecue soundtrack, but hardly vintage Sublime.

Sure, the relative absence of co-frontman Mike Shinoda saps some of the band’s unique character and they get bogged down in sluggish, downcast dirges in the final stretch, but there’s also a sense of liberation running through these 10 tracks; the mark of artists unshackled from their past, stepping into the unknown.