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2012's Top Five albums

Don Broco - 'Priorities'

An addition that I didn't really expect to make the list, but the word that springs to mind when I hear Don Broco is 'fun'. Don Broco's debut full-length release launched them on to the Radio 1 playlist this year, and the Bedford four-piece have been enjoying major success in the rock community ever since, having been invited to play the RockSound Riot Tour 2012 alongside AWOLNATION and Billy Talent, and they've already been announced as one of the big-name acts for Nottingham's Hit the Deck 2013. With huge tracks like 'Actors' and 'Fancy Dress', and the album still relatively young, 2013 is looking promising for this promising young group.

Enter Shikari - 'A Flash Flood of Colour'

So, Enter Shikari released another album. And it was another powerhouse, to nobody's surprise. 'A Flash Flood of Colour' is more political, more adventurous, and more balls-to-the-wall-crazy than we've ever heard from them. The opening tracks 'System...' '...Meltdown' set the tone for an album that's ruthless and unrelenting, and downright amazing from start to finish. Yet it's the sheer creativity that makes the album such a massive winner, whether it's the midpoint shift in 'Gandhi Mate, Ghandi' or the blistering solo on 'Warm Smiles Do Not Make You Welcome Here'. A career-defining release.

The Gaslight Anthem - 'Handwritten'

It seems The Gaslight Anthem can do no wrong, and the same was true for the release of the band's fourth album 'Handwritten'. The first single '45' teased a more straightforward, rock-orientated sound that was perhaps a little misleading, but 'Handwritten' made for one of the most nostalgic, engaging and interesting listens of the year. The standouts of the album came in the form of the title track and the hauntingly beautiful 'Keepsake', which delves deeper in to Brian Fallon than any track previously recorded by the band.

We Are the Ocean - 'Maybe Today, Maybe Tomorrow'

2012 was not the easier year for Essex's We Are the Ocean. Losing your frontman and lead vocalist is never going to put you in a great position, especially when you've got to record and bring out another album. But We Are the Ocean took it all in their stride and, against all comes, came out the other side better than ever. 'Maybe Today, Maybe Tomorrow' toned down the band's all-out rock vibes in favour of more melodic, more thoughtful songs like recent single 'Young Heart' and the Frank Turner-esque 'Pass Me By'. A welcome surprise that deserves its place on this list.

Young Guns - 'Bones'

The title track was voted by Kerrang! as its top single of the year, and with good reason. 'Bones' is a huge, huge album. It's the sort of stadium rock that would make their contemporaries jealous, and it's paved the way for a number of fantastic releases since its release in January. A worthy successor to 2010's 'All Our Kings Are Dead', 'Bones' sounded like a band coming in to their element creatively, experimenting with song structures and introducing a slick production that was absent from their previous efforts. With 'Bones' Young Guns leaped to the forefront of the alternative rock scene in Britain, and it will be interesting to see where 2012 takes them.

Honourable Mention

Architects - 'Daybreak'

Empires - 'Garage Hymns'

Futures - 'The Karma Album'

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Review: We Are the Ocean - Maybe Today, Maybe Tomorrow

'Maybe Today, Maybe Tomorrow' marks a turning point for We Are the Ocean, who return a man down and with a not entirely new, but certainly different, direction. Adapting to a change as drastic as losing a member is never going to be an easy transition, especially when you make the decision not to replace them. Their situation mirrors that of Deaf Havana, who parted ways with their vocalist last year before recording the fantastic 'Fools and Worthless Liars' last year. Thankfully, WATO's decision is just as refreshing and just as rewarding.

Although technically less adventurous than its predecessor (Go Now and Live, 2009), 'Maybe Today, Maybe Tomorrow' is a more refined and more focused record than anything that the band has put out to date.  The departure of former vocalist Dan Brown takes with him the more edgy, heavier sound that the band has built their fan base upon. However, in stepping up to the plate as full-time vocalist, Liam Cromby does a great deal to compensate for this with a huge vocal range and a more ferocious tone than we've ever heard from him, recalling at times the masterful Frank Turner (see closing track 'Chin Up, Son' for evidence).

And it's not just vocal range that's an improvement, the whole record covers a lot of ground and displays a greater variety of songs than their previous efforts, from the guitar-driven 'Bleed' to the soft, acoustic vibes of album opener 'Stanford Rivers'. Lyrically the album is also a huge improvement, with more personal and introverted themes being explored throughout.

'Maybe Today, Maybe Tomorrow' is, all-in-all, a step in the right direction for We Are the Ocean at this point in their career. Change is never the right way forward for some bands, but We Are the Ocean handled it well in having it forced upon them. It may not have the immediate impact of 'Cutting Our Teeth' (2010) or 'Go Now and Live', but 'Maybe Today, Maybe Tomorrow' makes evident the maturity that's been thrust upon the band and sees them expanding their sound in the manner of a band reaching the prime of their career.

Rating: 8/10

Standouts: 'Bleed', 'Young Heart'.

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Review: Futures - The Karma Album

I'll be honest, I never really gave Futures a chance. I dismissed them off the back of a few half-hearted listens to some of their older material, and overlooked them on many occasions. That is, until I stumbled on the outstanding single 'Karma Satellite', which really peaked my interest. More specifically, this video that the band put out of themselves performing the song in a studio with a few gifted friends. Many listens later, and 'The Karma Album' is one of the most refreshing records that I've heard in recent memory.

Lying somewhere between mellow indie-rock and sunny pop-punk, 'The Karma Album' relaxes and pleases for its duration. Every song soars and swells in all the right places, and the result is a record that is both tranquil and uplifting (see the killer chorus of the aforementioned 'Karma Satellite' to see what I mean). The choruses are particular strengths: well-written, catchy, and beautifully carried by Ant West's effortless, delicate voice.

There isn't really anything negative to say about 'The Karma Album', yet I do think that Futures could have been more adventurous with some of the songs on the album. 'We Had It All', for example, could have been a standout had the band made more of it, but instead it comes across as a little restrained. Even the smallest changes, like adding an extra guitar or some percussion towards the end would have  done so much for the song. But this by no means distracts from the fact that 'The Karma Album' is a great album, and should spell great things for a band that have often flown far under the radar in the British music scene.

Rating: 8/10

Standouts: 'Karma Satellite', 'Indigo'.

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Review: Lostprophets - Weapons

Oh, Lostprophets. 'Disappointing' is what springs to mind when trying to condense Lostprophets' fifth album in to a single word. The first single 'Better Off Dead' provided some promise for Lostprophets fans who still believe that they'll go back to the raw sounds of 'The Fake Sound of Progress' and 'Start Something'. Well, for me the problem isn't that they've strayed too far - it's that they haven't strayed at all.

'Last Train Home' and 'Burn Burn' were staple tracks of the mid-noughties. It seems to me that Lostprophets have spent every album attempting to recreate the modern classic that brought them to prominence in the first place, and that really just doesn't work. The closest that Lostprophets have come to genuine progress is 2010's mixed bag 'The Betrayed', which showed some sense of a matured band ready to finally live up to their reputation in singles 'It's Not the End of the World, But I Can See it From Here' and 'Where We Belong'.

But 'Weapons' is another step back for the Welsh sextet. It seems almost... well, lazy. As though they'd gone in to a studio just to put out another record, and not caring what it sounds like. Lead track 'Bring 'Em Down' lacks any real originality or energy, as does much of the album, and as a whole it feels under-written, under-ambitious and and under-produced. The one item of merit on the album is the fantastic 'Jesus Walks', which wouldn't have been out of place on 'The Betrayed', but even this feels stripped-back when it would have benefited from a little bit of polish.

I'm sure I'm not the only one who's tired of being disappointed by Lostprophets, and to be honest I'm not really sure how everything went wrong for them. 'Start Something' brought them to the fore of the British rock scene, but they just haven't really evolved with the scene that they once championed. They need to take note of their contemporaries, and take a step forward - a reputation can only carry you so far, and I don't think that Lostprophets' will take them much further. Here's hoping that they prove me wrong.

Rating: 5/10.

Standouts: 'Jesus Walks', 'Better Off Dead'.

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Review: Enter Shikari - A Flash Flood of Colour

So, this one's late, and for a good reason too. When first released back in January I didn't have much to say of Enter Shikari's third album. I thought it was, well, a bit of a let-down. I expected something a lot heavier, and with much less reliance on effects and synthesizers. But 'Common Dreads' had also taken me a while to fully appreciate, so I decided to give 'A Flash Flood of Colour' the same lenience.

I'm glad I did, because I love this album. The diversity is astounding, and the album feels not only like a logical progression from 'Common Dreads', but also what their last album inspired to be. Whereas 'Common Dreads' felt a little restrained, 'A Flash Flood of Colour' is a relentless onslaught of political ideals, crashing guitars and rousing call-to-arms vocals.

'System ... Meltdown' is a fantastic two-part opener that musically and lyrically sets the tone for the rest of the album. "Stand up!", urges Rou Reynolds, "it's not too late, it's not too late". Enter Shikari might not have the same political prowess as bands like Rise Against, but they're evident concern for the state of the world really shows in their unique, thought-provoking, ahead-of-its-time sound. Music might notbe able to change the world, but these guys aren't giving up trying.

Rating: 9/10.

Standouts: '... Meltdown', 'Pack of Thieves'.

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Review: Young Guns - Bones

Bones marks Young Guns' second full-length and an obvious maturity. It may not have the initial impact of their first stunner All Our Kings Are Dead, but Bones is the logical progression in almost every single way.

The songwriting has improved a lot (one listen of 'Headlights' will provide conformation of this); the riffs are more ambitious, and the lyrics more resonant. Surprisingly for a band reaching mainstream prominence, Bones arguably hasn't the same level of appeal to the masses as its predecessor. While there's more variety than on All Our Kings Are Dead, there may not be something for everyone here, but this is an expense necessary to the record's comprehensive feel.

The album loses much of the raw appeal that made All Our Kings Are Dead and in particular the fantastic Mirrors EP such hits, but the polished sound is one appropriate for a band achieving mainstream recognition and well on their way to massive sold-out tours, and in no way is this a bad thing. In fact, it allows the band to branch out in to previously unexplored territory, notably 'Interlude' and the dream-like 'Hymn For All I've Lost' (which, if anything, could benefit from being a bit longer).

Bones is an encouraging step in the right direction for High Wycombe's finest, and while it may not translate to a live show as readily as its predecessors, but after repetitive listens it hits you that Bones is a fantastic, well-constructed record, and an utter pleasure to listen to. 'I Was Born, I Have Lived, I Have Surely Died' is one of the best album openers in recent memory, and a perfect statement by a band in their prime. Young Guns are claiming British rock as their own, and here's hoping that they get the recognition they deserve.

Rating: 9/10

Standouts: 'I Was Born, I Have Lived, I Will Surely Die', 'You Are Not', 'Headlights'.

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Review: Kids in Glass Houses - In Gold Blood

In Gold Blood is Kids in Glass Houses' third offering and one that proves that thereis hope for British rock music. The welsh quintet drop the finessed pop-punk that has served them well over the years in favour of a raw, energetic sound that not only engages new listeners but seems like a natural progression for the band.

The songs are more ambitious and, simply put, bigger. The band displays a diversity in their writing that keeps the record fresh and every track unique, from the chugging guitars of recent single 'Animals' to 'Annie May', a track that wouldn't seem out of place on previous album Dirt. Lyrically, Aled Phillips steps up to the challenge of writing for a band well on their way to selling out arenas and the result is a gritty and refreshing concept that isn't forceful, but acts as more of an undertone to string together each song, and as a result the album feels wholesome. Kids in Glass Houses are at the best when ambitious, and when they stray from their comfort zone they truly exceed all expectations, as standout tracks 'Animals' and the ferocious 'Black Crush' demonstrate.

In Gold Blood is a fun, well-rounded, upbeat record that accurately represents a band approaching the forefront of British rock music, and is arguably their best offering to date.

Rating: 8/10

Standouts: 'Animals', 'Black Crush', 'A God to Many Devils'.

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Review: You Me at Six - Sinners Never Sleep

So, I was apprehensive when going to listen to Sinners Never Sleep, the third full-length from Surrey's finest. Hold Me Down, my favourite album from 2010, launched them to the forefront of the British rock scene, so who could blame a person for thinking that they'd sell out? They had claimed that their third album would be 'heavier and darker' than any of their previous material, and for the most part they don't deliver, but Sinners Never Sleep does offer a glimpse of an edgier, more ambitious YouMeatSix, reminiscent of Hold Me Down standouts The Consequence and Trophy Eyes. Sinners Never Sleep marks a maturity in YouMeatSix while retaining all the fun of their pop-punk roots.

The guitars are heavier, the vocals grittier (compliments to Josh Franceschi, who really drives every song), the lyrics darker and more honest, but thankfully the songs are still catchy as hell (take note of lead single Loverboy and soon-to-be-single Jaws on the Floor). There are few mis-steps on the record (save for the very forgettable and unsuccessful power ballad Crash), and it holds a solid and comprehensive feel throughout.

It's clear that with Sinners Never Sleep YouMeatSix wanted to avoid pigeonholing themselves in to being just a pop-punk band, and the record does a good job in demonstrating how diverse the band can be (especially with guest vocals from Oli Sykes of Bring Me the Horizon and Winston McCall of Parkway Drive), and as a result it's hard to see the band as the fresh-faced, happy-go-lucky idiots they were when Save it for the Bedroom first graced our ears. All in all, a solid record that builds on their successes and evolves their sound in a fresh and exciting way.

Rating: 8/10

Standouts: 'Little Death', 'Bite My Tongue'.

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Review: The Blackout - Hope

The third full-length from Wales' finest shows the evident maturity of a band adjusting to mainstream success, which their sophomore album The Best in Town cemented for them. With each album The Blackout have refined their signature sound, and with each album their raw energy fades, being replaced by polished production. Not that this is specifically a bad thing (although it does help fans appreciate the perfect balance thatThe Best in Town struck. Hope manages to maintain their unique, winning sound while preparing the boys for mainstream success.

The album also showcases the diversity of the band and the evolution in their sound. Both We Are the Dynamite! and The Best in Town were very riff-orientated, and focused on the medley of clean and guttural vocals as a focal point, whereasHope highlights that there's more to the band, in particular the inclusion of rapper Hyro Da Hero on Higher and Higher, which pleased pretty much every Radio 1 listener. Sean Smith acts as much as a vocalist as he does a screamer this time around, and he can actually sing.

Everything's bigger, everything's cleaner, and it's a hell of a lot more ambitious than anything they've ever done. There's no doubt that they're ready for the mainstream successes that this album could (and should have) brought them, and The Blackout are seminal in bringing rock music back to the forefront of the British scene.

Rating: 9/10

Standouts: 'Never By Your Side', 'Higher and Higher', 'The Storm'.

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10 Albums You Should Have Heard, But Haven't

'Howl', Empires (2008)

Empires' first full-length was released as a free download from their website in 2008, so there's no excuse for not giving this a listen. Strikes a perfect balance between Feeder and The Beatles (yes, really). Completely unheard of, completely incredible.

Taster: Modern Love.

'Everything in Transit', Jack's Mannequin (2005)

The release of Andrew McMahon's first solo album was hampered slightly by his battle with leukemia, but God was it a revelation. Intense, melancholic, and above all soothing, it's easy on the ears and impossible not to love. One of the most beautiful collections of music you will ever hear. Oh, and Tommy Lee guests on drums.

Taster: Dark Blue.

'Ups and Downsizing', The Swellers (2009)

The album that brought The Swellers to prominence is nostalgic, humbling and completely familiar, as though we're sharing the same memories as songwriter Nick Diener. The Swellers are very much a 'peoples' band. Rough, gritty, and charming.

Taster: Feet First.

'Whisper War', The Cab (2008)

How The Cab aren't on top of the world, I'll never know. Radio-ready music with a tonne of substance, 'Whisper War' is what thousands of bands have been trying to achieve for years and missing the mark completely. Endorsed by and featuring Patrick Stump (Fall Out Boy) and Brendon Urie (Panic! at the Disco), this album is one of few pop albums that works for almost everyone. Infectiously fun.

Taster: One of THOSE Nights.

'Mirrors' EP, Young Guns (2009)

Before Young Guns were Radio 1 regulars they were unsigned, unknown and under-appreciated, and 'Mirrors' is the record that got them to where they are today (those of you that don't know them yet will, in the very near future). Containing the most raw, powerful songs in their arsenal - including the first released version of their top single 'Weight of the World' - this is classic rock brought in to the 21st century.

Taster: Daughter of the Sea.

'VersaEmerge' (EP), VersaEmerge (2009)

Before the chaotic and forgettable mess that was 2011's 'Fixed at Zero' came the eponymous EP - a far cry from the band that they went on to be. Gothic, catchy as hell and true female-fronted rock (yeah, you heard me, Paramore). It really doesn't get better for fans of female-fronted rock.

Taster: Whisperer.

'Put Your Hands Where I Can See Them', Yashin (2010)

The finest of Scottish post-hardcore, Yashin's first full-length album is at least as good as any other post-hardcore band selling out arena tours. Heavy, catchy, and pure energy. Oh, and including a listenable cover of a Britney Spears song. These tracks kill.

Taster: Get Loose!

'Fools and Worthless Liars', Deaf Havana (2011)

Critically successful, but still not giving them the full credit they deserve, 'Fools and Worthless Liars' reinvents Deaf Havana after the loss of their screamer. For the better, of course. 'Fools and Worthless Liars' produces a contemplate, personal and original biography that's as beautiful as it is moving.

Taster: The World or Nothing.

'We Are the Ocean' (EP), We Are the Ocean (2008)

The record that launched their career. Or, rather, the song that launched their career. 'Nothing Good Has Happened Yet' is synonymous with We Are the Ocean, and staple listening for the band, but that's not to say that the other tracks should be overlooked. The EP is rife with powerful and original songs.

Taster: Nothing Good Has Happened Yet.

'30 Seconds to Mars', 30 Seconds to Mars (2002)

Yes, 30 Seconds to Mars are on this list. Before 'A Beautiful Lie' and mainstream success came their eponymous debut, and it's really worlds away from it's successors. Leto's vocals are more rough, embedded more in to the music, and the music itself wouldn't feel out of place in a film like 'The Matrix'. It's weirdly great, and well worth a listen.

Taster: Capricorn (A Brand New Name).