It's a record that tells its own story, but its impact resonates far beyond.

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

Whitechapel are one of the best and downright annihilating bands their field.

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

A solid if not spectacular release from the king of wail.

A disturbing but utterly all-consuming listen.

A relentlessly insistent, unexpectedly danceable record which manages to be as engaging as it is wilfully bizarre.

Whether regaling us with an ode to a middle-aged prostitute or outlining their plans for solar domination, they're on fine form.

The Fatal Feast might fall short of improvement, but for headbanging, whiplash-inducing chaos there are still few better than the Waste.

Fusing hardcore with metal and occasionally veering off on deranged, druggy tangents, this is an ambitious blend of sounds.

This brief addition to their canon might consist of just four songs, but it's a potent reminder of why we love them.

It won't be to everyone's tastes, but for those who like their metal both heavy and undeniably hook-laden, this is as satisfying an effort as you're likely to find.

Justifies the hype.

Say Anything have always been a hard pill to swallow for some, and while Anarchy doesn't change that, it shows that they have far more than just the one spanner in the toolbox.

This is a deafening, destructive and devilishly diverse affair, serving as a firm and timely reminder that when it comes to this particular game, nobody does it quite like this.

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.

Their jangly indie-rock explores the journey of two twin brothers separated at birth through a procession of the schizophrenic ('Drunken Birds') and the more accessible ('Warmer Warmer') with largely satisfying results.

The Menzingers' third album sees them take their slightly atypical song structures (they're not much into the verse / chorus / verse way of thinking) and make them catchier than ever.

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

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.

This record is the result of Finn turning his hand to songwriting for the very first time and, yes, he's nailed it.

Angry and scathing, Radke's return is welcome.

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

It sounds ferocious and is going to have you feeling filthy and dealing with tinnitus afterwards, but nothing's going to stop you from rocking.

Relentless Reckless Forever, the band's seventh album, is more of the same but faster and stronger.

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

It feels like they've truly accomplished what they set out to do.

Although some of the quieter tracks can overstay their welcome, this is a well-structured album, hopping between these and frantic, uplifting songs.