The songwriting on Burning At Both Ends isn't nearly up to par with other prominent pop-punk groups, and Set Your Goals only stumbles more in the execution of their sound.

For the band's loyal fanbase, Everybody's Coming Down proves an experimental but mostly successful step further down a path of fuzzy, theatrical rock and roll.

Sophomore albums always find bands trying too hard, struggling to live up to their magnum opus and Mind Over Matter has all the hallmarks of exactly that.

They may not be quite as distraught as Smith was, and they certainly opt not to strum as fast as he did, but the shared sentiment is still there. And on The Unfazed, that sentiment carries a savory beauty.

While fans of the band's previous albums might find fault in Last Night on Earth's less cluttered, electronica-tinged songwriting, it is Fink's simple songs and flexible voice that carry the most enjoyment.

As has always been the case with City and Colour, this record is at its best when it forgoes sonic evolution for the bare bones simplicity of human emotion and the warm, gentle wash of pleasant nostalgia.

For a stopgap release that no one expected, assembled from outtakes, B-sides, and covers that all but the most ardent Bruce followers would call inessential, High Hopes is still a remarkably cohesive and consistent record, and serves as a wonderful way to kick off 2014.

With albums as comfortable and likable as Twin Forks, there’s simply no reason to mourn Carrabba’s decision to give this new band his full focus for the time being.

Pyramid of the Sun not only remedies the sporadic deficiencies of Inventions for the New Season, it does proud the legacies of Jerry Fuchs and Manuel Gottsching; it also serves as both a challenge and heuristic experience for the alarmingly proliferating post-rock contingent.

Henry Tremain does a fine job replacing the ever-inventive Stuart Smith on vocals. His lyrics aren't that much fun to sing, but they're nice to read.

Simply put, this record already feels timeless.

They create sophisticated and charming indie/pop songs that occasionally have moments of calamity and moodiness. Their hooks are compelling, their lyrics often thoughtful, and because they explore the topic of love and heartache, they're bound to resonate with many who give the intimate, Love Notes / Letter Bombs thirty minutes of their time.

There are some parts you'll have to suffer through, but there are at least a handful of tracks that we can save and enjoy into the future.

Guest appearances on any type of album usually generates some negativity but the ones on Adventures really shine and freshen it up a bit.

119 is more concerned about power flexing than it is being simple, fast, direct, and catchy (and there are way less 30-second spurts than before); it has a hefty presence of East Coast ferocity, and Spielman's signature chokehold commands the band's socio-political magnitude more than ever.

At its core, Kintsugi takes broken pieces and finds ways to put them back together into something new.

All Time Low made the catchiest record possible and have their fingers crossed for airplay in the upcoming months. For those who accept it, Dirty Work will be a staple in their summer playlist.

The beauty of an album like Don't Let The Sun is that in between the rickety monuments to group songwriting, there is a simple and subtle message of camaraderie.

Whereas 2011's Want More felt uneven, Howl is dynamic, controlled and with few, if any holes.

Ivywild is an unlistenable mess.

It's not all slow and mid-tempo numbers that litter the forty-five minute duration of The Slideshow Effect. There are also moments where the band is unafraid to lift the urgency, to create a semblance of sustained momentum, and to incorporate a few timely hooks and memorable melodies along the way.

The end result is this expertly-crafted, inoffensive, hook-laden pop. Though it gets a bit silly in places, the core of this disc is far too good to pass up.

If you're looking for a solid heavy record to give a spin, give The Hollow a chance.

In essence, A Thousand Suns is a record with no real character or substance.

The full blown cathartic experience that many savor through a live set sometimes mishits on the album, but not so much to be trash-bin worthy.

This is as good as any album post-punk/garage rock has produced in quite some time.

All in all, People and Things hits home as an almost surprisingly diverse record from Jack's Mannequin.

Musically, The Circle in the Square is a bit too wobbly to stand up even amongst the rock acts channeling hip-hop a little less obviously.