This album has a more mature twang to it, musically and lyrically. And interestingly enough, it's pretty minimalist and their simplest-sounding stuff to date.

Somehow, 40 years later, that fundamental sound is still intact. More than that, instead of sounding stale, it feels like a breath of fresh air. In a world of homogenized punk, it’s good to be able to throw on a record like Alphabetland and be reminded of what a rich tapestry punk can be.

Just as No Doubt succeeded as being the ska band that wasn’t always a ska band, Scowl is succeeding as Scowl- the structures built around them are irrelevant, which makes me think again of the image of the moth breaking free of its cocoon, which is necessary for its survival and evolution.

Saves The Day sound lean, concise and reenergized. Pleasant surprise.

There is a true appreciation and savoring of sonic texture here.

All in all, it's an accessible ride and if this is your first rodeo with them, then Imbue isn't such a bad jumping-on point. However, it doesn't hold up to the young days where The Early November were immature mavericks letting loose.

Foxing’s giant leap takes them away from their emo upbringing and should place them among contemporaries like Portugal. The Man, Alt-J and Glass Animals. They’ve risked everything for this album and their desire for something greater. I’m calling it now: Foxing’s Nearer My God is the album of the year.

When all's said and done, the record dips and swells (see "Fulton Street I") to reflect the oscillations of life and from these tracks here, it's hard to call LD and The Wave nothing short of timeless.

The band, here, is confident enough, skilled enough, and thoughtful enough to turn this massive piece--two lps of dark-metaphysical music backed by hardcore-tinged thrash--into one of their best works, if not their best work.

Very versatile and loaded with replay value, prep yourselves for one of the best records you'll hear this year.

Here, it's a lot more of that soft-loud dynamic, that visceral arrangement on the buildups and honestly, a lot more of Andy's iconic poetry. ... It frees them even more creatively, and I love the growth shown.

I'll Be The Tornado is highly focused, driven and a record that never seems content

This is a slight return to form for Dropkick Murphys. It’s probably not going to occupy the same place in your heart as Do Or Die or Sing Loud, Sing Proud, but you can’t expect 50 year old guys to make the same record they made at 25. Give Turn Up That Dial a listen. You might just be pleasantly surprised.

It is a welcome, surprising return to form.

Overall, their sound's much tighter. Filled with more impact and warm, relatable moments. It's a passionate plea.

Young Enough is better than its predecessor in every way, and its predecessor is very good. Every song should be a gigantic sing-along single, each with its own level of catharsis. If more pop songs had Charly Bliss’s sense of craft, pop music would be in a much better place.

Yes, the Vivian Girls were and are good, but we already knew that. However, more importantly, Memeroy cements that NO ONE can do what this trio does and, more than that, they’re doing it even better now then they were before.

This is a good album and one that is easy to get into, especially if you have even half an ear for some country-based insurgency!

Stevenson and her band have been improving in every aspect since their inception, and they've nailed it here on Wheel.

It's loud, raucous and the kind of magic that will kick your doors down, even if you didn't want it to. A collection of sing-alongs and shout-along anthems that will devour you -- blood, hair, eyeballs, and everything else.

In an album that is about a breakup, the band is more unified and more cohesive than they have ever been before. I say it before with every Screaming Females album, but really, THIS ONE is the best one yet.

As talented as Oberst is on his own, his symbiotic relationship with the other members of Bright Eyes makes it easily Oberst’s best project and one I hope continues on for the foreseeable future.

These are the songs that cut deep and cut slowly.

Terror offers few surprises, but has delivered another solid slab of hardcore.

Overall, Our Pleasure feels musically intricate on a new level--thicker basslines, much more pronounced drums and priding itself with a lot of guitar-driven character. It's them at their most distinct and honestly, most assertively powerful stance.

Every Ghost album thus far has had a very distinct identity, and its hard to pick a favorite, but it’s safe to say that Prequelle is their most accomplished work yet.

All the hallmarks of Defeater's sound are here.

This album is 48 minutes long, and Hause musically repeats himself just a little more than is necessary. Still, Devour has more than enough quality moments to elevate Hause toward the top of the genre.

Creation Rebel, especially on their new album, have a foot in both worlds which is why the music doesn’t sound throwback or avant- it sounds timeless. And it’s catchy.

Be More Kind is another slight evolution in Frank Turner’s career. He takes some big steps and bigger lyrical swings, but ultimately you end up with reliable Frank Turner.

Yip and the band get it right--balancing all sounds to leave the scales oscillating between hardcore and punk, yet tipping more to the latter. And truth be told, that's an understatement. Turnstile has shed a lot of its hardcore skin and as cliched as it sounds, they're now... punk as fuck.

The set of tracks cultivated here flows organically and with an emotional tug that draws more than just nostalgia. They're stomping on the terrain again and doing so with a vociferous sound and one that they should be very fucking proud.

While these tunes might not have quite the caught-in-yer-brain stickiness of “I’m not a loser,” they’re longer lasting. Because the band is speeding so quickly, and rushing out combustible sounds, it takes more deep dives into the album to catch everything.

On this particular album, they achieve just the right amount of flair and flavour to spice things up with character and believe it or not, lyrical depth. Track-wise, there are some growers. Then you've got some tedious chores to work through mid-way but overall, the album ends on a fairly decent note.

Assembly shows that while Strummer solo may have more nuance or more room for interpretation, the raw power of his early work had been washed over with music that, was frankly, quieter. ... It also proves that Strummer solo can stand on its own, even if that stance will always be in the shadow of an earlier band.

Running at you full-steam ahead, seeing red and gutting you. This album is testament to the trials and tribulations they've endured and more so, how they've risen up.

One complaint though which does stand out is that a few of the songs are too long and gives way to Further Out feeling a tad front-loaded.

Kill the Lights is pretty, relatable and doesn’t have time to overstay its welcome.

With some new tricks as well. A Weird Exits runs a tad overboard and drags midway through but despite being about three or four tracks too long, don't let it slip by.

Long and loses steam at times, but it delivers.

They’re never going to knock you down with their raw power. But, like the Midwestern cities of southwestern Ohio that birthed them ... you’ll find a lot of beauty if you stick around long enough.

This album is like you're setting fire to your soul. And there's no better feeling in the universe. Because it has you feeling awake.

I think the punk rock attitude is to not easily be impressed with technical musicianship that doesn’t make you feel much of anything. American Head didn’t hit me in the heart or in the gut, but it did make me want to go back and listen to “She Don’t Use Jelly” again and, if nothing else, that’s a positive that comes from this experience.

The Crystal Fairy debut self-titled LP certainly feels like it was made in a flash. The eleven tracks speed by, flipping from riff to riff, track to track. In fact, the whole album has such an impulsive energy, it almost feels like it was recorded in a single, continuous take... and that’s a good thing.

This record blew away all expectations. It never stands still and always finds a way of resonating.

It's not loud or in-your-face. It's not preachy. Their stance is subtle yet strong.

While there are unmistakable comparisons to bands like PUP and The Dirty Nil abound, Precious Art rolls on to mesh together a lot of influences while still standing on its own, carving out an identity that's as distinct as it is loud and catchy.

The big hooks, crunchy guitars and foot-stomping jams will surely have fans erupting at live shows for these songs, because the album's such a rich, full novel, musically and lyrically which we all can, or will end up, relating to.

The album could have done with a few tracks less but apart from the tightening up, it's a great move forward, placing you in the shadows or running through said corridor trying to escape an axe-wielding murderer.

All in all, Swervedriver delivers the goods but with this record, it's safe to say it could have come years ago. I'd love to hear them take a risk and mix it up moving forward.

The back half of Admission goes the more traditional route. While sure to please long-time fans, after such an exploratory top half, it feels slightly more weighted down. But don’t worry, “Infiero” rips out of that murkiness, dirtier and angrier than anything else on Admission.

It's tough to get through in terms of lyrics, but musically Waxahatchee deliver yet another piece of art.

Arcade Fire managed to satisfy divergent interests. Disc one is the hits. Disc two is the weird stuff.

Tere is a great deal of fun being had by all parties here. But, unlike, perhaps other works that reference classic styles, this is no send up or wry reference, but a sheer appreciation for the work of the weirdo masters of yesteryear... as performed by the weirdo masters of today.

The more intelligible lyrics and mid-fi production keep things entertaining and give it the feeling of a fully fleshed-out work.

"Hum" has a wedding feel to it, and while the aesthetic picks up a bit on "Low Slow" the overall vibe of the album just feels a bit monotone at times. But don't get me wrong, the worst Laura Stevenson is way better than 90% of the crap on the radio today. And that's testament to how good and how golden she really is.

A Loud Bash of Teenage Feelings, like all Beach Slang releases, is made for the purpose of inclusivity. James Alex may be forty-two but Beach Slang, in sound and energy, remains ageless.

This comeback record--the band's first since 2006--feels like their most mature, seasoned and solid body of work to date and also, it feels like they're pressing forward like never before in a world mangled by torn emotions.

This is a good album, but it’s one of those albums that either has too much or too little of something.

An infectious album of either punk influenced pop or pop influenced punk. Whatever the appropriate term for the music here is, it gets stuck in your head.

It's all over the place but in a good way as it prides itself on attributes and characteristics that can best be described as rushes of earnest shoutalongs, candidly told and catchily brought to life musically. All with a songwriting vulnerability like he's never shown before.

Abandon All Life isn't a radical departure, but it is the most clever use of the band's tools to date.

They’re at their most fun singing about whiskey while the brass section forces you to get up and dance. But on All a Man Should Do, they deliver something special--an album that shows our weary travelers making peace with the world and maybe even finding happiness in it.

All in all, it's a good album, but I kept waiting for that big, mighty and monstrous climax which never comes.

This whole album really takes no prisoners, and brings to mind everything that was good in the underground music scene from the eighties into the early/mid-nineties. Lyrically, the band takes no prisoners and holds nothing back shouting down religion, political leaders the world over, and anyone else that gets in their way. They also are able to do what so many modern bands fail to do, blend their influences well.

Over twenty-one years later the band has released Going Down in History that shows even if the band’s tongue in cheek send up of David Koesh and his followers isn’t culturally relevant, this band certainly still can be.

Dinosaur Jr have been an incredibly consistent outfit since reuniting, and Give a Glimpse of What Yer Not is another solid addition to their catalog. A step up from I Bet on Sky, it’s sure to please all Dino fans.

mewithoutYou once more have put out a unique assortment of tracks.

The Center Won’t Hold is a revolution for Sleater-Kinney, an amazing act of artistic bravery, Sleater-Kinney’s best album to date, and my new favorite album of 2019. This is a cultural moment that should not be missed, and I highly recommend you listen to it immediately.

While this album isn’t what most people would consider rock, it definitely challenges the listener and succeeds at creating a world for the characters that occupy these songs and making the listener feel like they’re there for the experience themselves.

The shifts between melodic post-rock and Korean folk and the full-on metal sections is what really caught my attention. Typically, bands can do loud well or they can do quiet and subtle well. It’s rare you find a band that excels at both, Jambinai does that here.

This album was inevitable, and while it lacks the substance of old, it's still full of.

While not all the songs pack the same punch, Near To The Wild Heart Of Life succeeds on its earnestness.

There’s an intelligence wrapped in the machinery here. This is cyborg music driven by metal fingers, but the human heart is still intact.

Scientist is an excellent showcase of everything that made Chrome great, and continues to make Chrome great.

The tracks that hit really save this album but those that miss, really leave a bad taste. Still, Citizen does just enough to get the benefit of the doubt.

It's non-formulaic and filled with a sense of hope and belief. PJ Harvey singing about these things and building to reclamation and salvation is totally worth the trip. For fanboys and those who aren't. We need more of this in the world today.

They’ve always been impressively consistent while refusing to settle for anything less than greatness and Cody is just another example of this.

What matters though is that their catchy magic never dies down, rearranging all your emotions on the way and relating to you with the heartfelt comfort of a truly kindred spirit. III delivers just that, starting slowly but eventually snowballing into your soul with an indescribable fire.

Standards is definitely a major step forward, and a fearless one at that.

It has enough experimentation in it to throw off fans of old, but Every Country's Sun is a Mogwai album at heart. It's just marching to a different drum. It jars you like the Beasts of No Nation soundtrack but leaves you, as the title implies and wants, much more hopeful.

This record is a super early contender for album of the year for me though. It’s loud, dark, and thundering. Bambara suck you into their world for just under an hour, and as unpleasant as it can be. It’s not one you find yourself ready to leave.

A cool, sleazy rock record that's unmistakably a group project but also perfectly an Iggy album: sexy, nasty and darkly funny.

For any fan, past or present, this is mandatory listening.

Whereas most inside/silly jokes are used by a closed group to draw their own bonds closer, here, the Melvins are using that device to invite people into the world. And frankly, it’s a fun and funny world despite the gratuitous use of the F-word.

Restarter continues to push the NOS button and races off into the band's new era. Perfect build on the foundation they laid with a few tracks in 2013 as well.

Abandoned, amid its mid-tempo hardcore aggression, is more introspective and focuses on personal torment and demons. It sinks its teeth into you, very deeply.

Seriously, these songs feel like Smashing Pumpkins demos--grainy, rough, atmospheric--like if they were made in a garage, and I think that's exactly what CN wanted to achieve. Rough, raw and rugged, but still jangly, catchy and head-poppy enough to leave you wanting more.

Every song on this album is strong, starting from the compelling opener, “Satellite,” which firmly establishes the return to the classic Get Up Kids style which is as strong of an opener as “Holiday” or “Man of Conviction.”

Here, Rancid don’t redefine themselves, but they show that there is a lot of life in some of their lesser explored aspects. Simply, this is the band’s best record since Rancid 5.

May have just been two or three tracks too long but in the end, The King of Whys addresses a lot of things that we can relate to.

Reverie Lagoon: Music For Escapism Only feels like a well-walked bridge for the band but as a gauge for them, it's unpredictable to say where they'll go from here. It's not a bad thing.

Not a bad album but one that requires a few more listens, personally, to really feel captivated. The band seems to be going through the motions here and it doesn't stick as much.

This is another great Mountain Goats album. If you are a fan you probably have this already but if not, got get it asap. If you’re unfamiliar, this is as good a place as his masterwork The Sunset Tree to start, as this is like the sequel, but coming from a seemingly lighthearted place with the wrestling theme.

For this short time, Permanence transports you back to a younger place where you're free. Enjoying the ride. Not worrying about consequences for the time being.

This is their best work to date and the great thing is, you can tell they're still evolving and fleshing out which direction to head in. It feels like a state of limbo, but in the best way possible.

When the dust clears, even though the album's length clocks in a bit long for them, you can't escape how they utilized the room to breathe. To cause chaos. Without really shouting. Paradise is ambitious and really stakes an early claim for album of the year.

Sad to say, this follow-up lacks a lot, music-wise and heart-wise, and apart from one or two decent interjections, leaves a lot to be desired.