It's a take it or leave it, and for arguably the most consistent band in the scene over the last decade, Major/Minor is a triumph. What else and to whom do they need to prove anything anymore anyway?

If she maintains this faith in her abilities, her albums will continue to awe, inspire and provide tough competition for the rest of the world.

The band has continued to expand and refine their ADD-riddle pop-punk into something more substantial and LP3 chronicles the growth in songwriting while maintaining the spastic charm of the band's earlier releases.

There is a lot to like on This Is How The Wind Shifts, as Silverstein accomplishes the tricky balancing act of progressing your craft while retaining that sound that made the band into what it is today.

The heart and intent behind the lyrics and music, the effort so clearly put forth is what is supposed to translate and it does. Most of the growth on this record comes in the form of more textured and dynamic instrumentals, and glossy, but not necessarily overtly “made for radio” production.

It's one of the most organic and genuine albums of 2011.

Typically the band can be found tiptoeing the edge of shameless, binge-drinking punk rock ("Titus Andronicus Forever"). It's better when they're loud, I think, because it makes Stickles' doubt seem more immediate, like there's a time limit to his sanity.

With this record, the band not only rose up to the bar set by their contemporaries, they raised it to a new level-- which is a good thing, because if this record is the new standard for the metalcore genre, then the future is looking incredibly bright.

Exmilitary is an abrasive and traumatic ordeal, rife with production that's on-point but completely jarring at the same time.

When listening to Doris, you're going to want to have lyrics nearby or else you're going to miss well over half of what's being said. It makes for an album that's hard to listen to without putting in some effort, but the results speak for themselves as Doris proves to be both a rewarding and engrossing listen, even if there are still a few kinks to be worked out.

Parallax is one of the best albums I've had the pleasure of hearing all year.

This album is more than just an album-of-the-year candidate, this is a disc that is far-reaching, endlessly appealing and as strong as anything that's been released in the Americana genre in the last half-decade.

Easily their most consistent release yet, it’s unquestionably one of the best albums of the year.

The production from song to song remains strong, but many of the tracks tend to blur together on repeated listens.

While there is some filler, some of the best Cancer Bats songs can be found here and that alone makes this worth checking out, even if it isn’t a gigantic departure.

Truth be told, it never feels completely on-target, however it's hardly inept - just a touch disjointed. For every minor imperfection, listeners are rewarded with boosts of adrenaline from the bludgeoning opening track "Deafening" and breakneck "Dear Enemy."

Saves The Day is another feather in the cap known as the band's illustrious career, marking the return of the band we all fell in love with many years ago while successfully beginning the next phase of the band’s career.

The Room’s Too Cold may have the memories, The Mother, the Mechanic, and the Path may have the ambition, In Currents may have the excitement, but Imbue is the best album that The Early November have ever released.

There aren't many artists recording today who make songwriting seem more natural and effortless than Kurt Vile.

Brothers is a rock and roll takeover, as The Black Keys flex their muscles and make their presence known towards all imitators. The variety between tempos, melodies, and genres will keep you coming back to this record.

The duo shows an uncanny ability to write engaging pop nuggets.

Sempiternal is one of the most breathtaking and engaging albums of the year.

The beauty of a record like I’ll Be The Tornado, which spends so much time in the devastating minutiae of heartbreak and pain, is its realization that the bad can still do lots and lots of good. It’s a fairy tale thought to think that life won’t get in a gut punch or two, and Dads have made a record that revels in failure for truly triumphant results.

When all is said and done, New Multitudes is a staggering work and a crowning achievement.

What's fascinating about The Color Spectrum (and easily comparable to a contemporary like The Alchemy Index) is how expansive the quality of the records are in their execution.

It's evident from the musicianship, from the instrumentation, from the lyrics, and from the vocal delivery that Parting the Sea Between Brightness and Me is a record of progression and refinement; released halfway through 2011, it will go down among the best of the heavy hitters this year.

Like its predecessor Indestructible Machine, the album belies her age and finds the singer churning out songs that are wise beyond her years.

Shad's most recent album, 2010's TSOL, builds right where The Old Prince left off, and is even more impressive.