Circle Takes the Square deliver an assortment of tones and sensations on ‘Decompositions: Volume Number One’. At times it’s a cascading listen, at other equal moments a solemn experience. The constant though is fans should enjoy what’s offered.

The greatest strength of ‘Entwine the Threads’ is its recognisable, relatable and polished sound. The EP is manageable and a satisfactory listen, but it still feels like a similar instead of unique sound.

Capture The Crown’s debut album, ‘Til Death, is further evidence that Australian bands are capable of standing their ground and measuring up against some of the biggest international names in metalcore. This album may have its faults, but it’s still a solid start from a band relatively new on the scene.

Granted this is the band's label debut so in some ways they want to play it safe and keep the "fans of the genre" happy, but this approach is tired and ineffective these days. There are enough moments of originality here to say that Crown The Empire are worth checking out, but they are countered by as many generic parts which make this album just short of something great.

III sounds rigid and calculated in comparison to past efforts, giving it a generally tired and predictable aftertaste. It’s hard to tag Crystal Castles as ‘experimental’ anymore when they’re content with churning out run-of-the-mill dance floor ditties like everyone else. A disappointing effort.

‘Love Is Love // Return to Dust’ is a rough composition yet goes down very smoothly. This is exactly the type of material you want to see infiltrating the already established. Code Orange Kids have spark and for the time being that is going deliver positive results.

Ten albums down and Cradle of Filth are still as brooding and seemingly motivated as ever. ‘The Manticore and Other Horrors’ might not necessarily define itself as inspired but it is still consistent. It’s heavy but controlled. Dark but layered. Around the mark.

City Riots are wearing their experience and talents on their sleeve with ‘Sea Of Bright Lights’ and considering the current musical climate, they have enough elements included that should appeal to just about everyone.

You almost feel guilty for heaping the endless acclaim on this band, but it’s simply impossible to ignore. ‘All We Love We Leave Behind’ is undeniable, it’s assertive…it is simply Converge.

It’s clear that Coheed and Cambria are embracing the sudden popularity of The Armory Wars by puting a stronger focus on the storyline of this album, which in turn makes it a little easier to understand. Let’s be honest, no one really understood the concept in earlier records until it was spelled out for them. This one however will have you hanging out for the second instalment to hear what happens to The Afterman. An added bonus is the fact that musically Coheed are well versed in exactly what they are capable of doing and that comfort is clear on this record, producing some of their most refined musical moments.