Jack's Mannequin's fans will probably see Sullivan's name and check out Kid Is Qual out of curiosity, and it will be surprising if they stick around past the first two tracks of this EP. The idea of the band is interesting but there is no where near enough variance in this music to make it worthwhile.

The Days Ahead is a well rounded but short-lived EP. It thrives on its ability to be simple and stripped back while still sounding full and complete. Dual vocalists Bowley and de Torres prove that their vocals have the ability to stand at the forefront of their music, utilizing the simplest of instruments to carry them along. While there are moments of versatility, by the end of the EP the tracks seem to feel all too familiar. This is definitely an EP that will keep fans of the duo happy while also providing a small look into what The Scene Aesthetic can do, perfect for getting this duo the recognition they deserve and paving a path for another record.

Young English are a talented band who would be even more impressive if they could refine and explore the more original sounding points of their music. ‘I Hate My Friends’ is a tight EP that will do its job by catching people’s ears, but it is what the band do with their follow up full length that will be the make or break.

The 'Love' project has been executed slowly but efficiently and is the type of thing that many artists wish they could pull off as well as AvA have. The records, which make more sense in conjunction with the images of the film, actually stand alone quite well, which is a challenge that all movie inspired records face. AvA seem to have settled into a place which puts ego aside and as a result the solid rock music this band are capable of is able to shine through.

Diamond are on a winner, combining brilliant song writing with extremely tight performances, all wrapped up in a sound that will catch the ear of pretty much everybody who enjoys any kind of rock music. It will be a huge surprise if we do not see and hear bigger things from this band in the near future.

Western Sydney pop punk mainstays Wake The Giants have proven their readiness to emerge from the cocoon of their local scene with ‘Hill Rd’, a new single which marks the highest point in the band’s career to date. Moving beyond the easycore formula that characterised their earlier work, the track is washed over with lashings of pop sensibilities and punctuating, memorable hooks set against driving powerchords and catchy lead guitar phrases. ‘Hill Rd’ shows a band at the top of their game, paving the way towards a bright, prosperous future at the forefront of the genre.

The world certainly didn’t need a Bush reunion but on the other hand, probably won’t mind that it has happened either. ‘The Sea Of Memories’ is a record for all Bush fans to reminisce to but certainly won’t head anywhere near the direction of earning the group new fans or raising them back to the level of fame that they once enjoyed.

Lydia never really reached a point where fans would be too precious about the line-up or think that Antleman producing new music under the old band name would be sacrilegious, which allows everyone to sit back and enjoy ‘Paint It Gold’ for the excellent indie rock record that it is.

Endless Heights have solidified their position within the Australian hardcore scene with the release of ‘Dream Strong’, a six-track EP reinforced by exceptional production values that moves far beyond anything the band has done before. This professionalism emphasises the musical accomplishment of the band’s songwriting on this release, juxtaposing soaring, angelic lead guitar phrases with driving chords and riffs that demonstrate large nods to the heavier sensibilities of the melodic hardcore genre. The end result is an EP bleeding with intense emotionality that never allows itself to stagnate.

Six months after the abrupt departure of frontman Frank Carter, Gallows have rechristened themselves and emerged with ‘Death Is Birth’. The brief, four-track EP is a competent display of hardcore punk, showcasing the washed- down, gritty production values and powerchord, hard riff grooves championed in their earlier releases. However, the EP’s occasional lapses into overt experimentation cripple its coherency, and the noticeable loss of personality within the music itself detracts from its memorability within a very crowded genre.