Yes, it’s been done before, but as much as there is to nitpick, there’s just as much to revel in.

When We Stay Alive at times unintentionally underscores that struggle through its weakest moments, but it also embraces the perseverance required to come out on the other side with a renewed sense of self. Poliça sound eager to take that next major step and embrace a fresh start, even if they don't seem to know exactly where to go from here.

JAMC’s reclaim for glory is expectedly uneven: it’s as carelessly abrasive and reverb-heavy as it should be, but it’s also mounted with a heavy number of throwaways that document different periods of their celebrated past without a clear notion of how they should move forward.

The potential Young shows is infectious and encouraging, but her debut was going to be a buzz kill from the start, if only because of the hype.

The nostalgia lacks anything close to the authenticity that Thunder, Lightning, Strike achieved, and the sound of the 2018 version of The Go! Team struggles to get anywhere far from persistent annoyance.

At least they're better than The Vines.

He is starting to concern me though, since this is the third album in a row that has left me wallowing in mild to severe disappointment.

Just as they’re getting closer to solving an apparent diagnosis of identity crisis, The Most Serene Republic break the mold by being even more eclectic. A few positives abound.

In Light is commendable for exploring the successful niche Givers have been residing within since their 2009 Givers EP.

Modern Art doesn't have the pure pop exuberance of Girlfriend, but it proves to be a welcome addition to a distinguished body of work.

Even if Perdida does have a good amount of hammy lyrics and dull, strummy adult-pop, it's still the best music they've written since 2001's Shangri-La Dee Da. And, in many ways, is proof of why they deserve a fair shot at keeping the Stone Temple Pilots name active.

Given how much effort twenty one pilots give into their presentation, it's genuinely surprising how uninteresting Scaled and Icy sounds on the surface. ... The music itself sounds so limiting and faceless.

Heavy Rocks 2011 is a full-on guitar rock album that utilizes the glam-ish, arena level riffs and sounds the band splattered across all three volumes of their Japanese Heavy Rock Hits 7" series.

What's most striking is how effortlessly Bundick seems to construct each groove without compromising the complexity of his hybrid style.

Hippies is a no-frills garage-rock record that is fun and energetic, and the utter lack of pretence is a breath of fresh air in this era of overproduced corporate drivel.

An epic, widescreen journey which is busy and bonkers but constantly entertaining.

Alpocalypse is a fine reflection on our world as it stands in this modern age, and well worth a listen, if only for a laugh to brighten up your day.

After a promising EP that hinted at many directions (not to mention that it was a succinct five tracks) Blue only amplifies their indecisiveness instead of pointing out their strengths as songwriters.

From Gemini Feed’s bold awareness, to 27 Hours’ electrifying finish, The Altar is an accomplishment. There’s much more happening, but its tighter and fuller, filling in the most glaring gaps left by Goddess.

There's not a lot fundamentally wrong with The People's Key; it's just that we know Bright Eyes can do better.

The Devil Put Dinosaurs Here is up there with the best Alice in Chains albums, with each track a conquest of structure and composition.

For the first time in a while, they’re moving forward with a sound truer to their nature.

A work of remarkable beauty, Elegies To Lessons Learned contains far more reasons to be cheerful than it reasonably should, and if you’re looking for post-rock done properly then iLiKETRAiNS are more than on the right lines.

The Hold Steady this ain't, but as far as new directions go, Craig Finn could have done much worse.

Throughout, a spewing, pandering vitriol taints a band whose vivacity seems to be wearing thin.

Something to Tell You doesn’t attempt anything new and keeps it safe, though, and when your best track is yet another sanitized extract of Tango in the Night, well, that’s not saying much.

The sound HÆLOS have refined is the perfect foil for truly spectacular things to happen, but with the exception of the album’s centerpiece, Oracle, Full Circle consistently gives the impression that the tools aren’t being used as efficiently as they could be.

Since Nodzzz songs rely mostly on sporadic ruminations, they communicate much more effectively when a satisfying guitar riff surprises as opposed to when they build an entire song on little life tidbits that don't amount to much.