These 11 tracks play on every ounce of rage you've ever known. Be afraid of them all. In the best way possible.

Jeremy Bolm and his posse have taken the time and care since 2011 to ensure that Is Survived By plays off as not only their most mature and heartfelt record to date. It's the record that could well define Touche Amore's legacy.

It’s fun and enjoyable. It's exciting, even if nothing new is being done.

It's a brutally diverse album that has something for so many rock fans. It doesn't drag across...but instead races--pummeling--through a few genres that delivers something beyond wildest expectations.

It doesn’t resort to chest-beating nor does it attempt to dilute its primal metal urges. It simply cuts through.

Ultimately, they’re doing retro-thrash with a modern feel, and they’re pretty damn good at it. If you like to bang your head, Power Trip should be on your radar.

Partycrasher isn’t a comeback record or a return to form. If anything, it’s a loud affirmation that A Wilhelm Scream are still one of the most creatively engaging and thoroughly fun and exciting bands in punk.

The tight musicianship around Kingfisher assembles like a puzzle.

Teens of Denial is a contender for album of the year, to say the least. It’s the rawest indie rock record since The Monitor.

Every member is in top form here. Ben Weinman has crafted an eventful aural masterpiece.

This album definitely cranks out most of their hits, although it's a tall order as their first four records are perfect front to back.

It's quite hazy, quite crowded but it works. It really does.

There’s an artful use of simplicity here to the extent that these songs don’t sound simple at all- they are massive, moving, and multifaceted- but never are they bland. Rather, instead of punching note after note down our ears, Screaming Females make every pluck, every single thwap, single second, do something to advance the album. When every single element counts, the whole thing feels that much more important.

Morbid Stuff is punk rock at its best. PUP has delivered something that achieves the rare feat of satisfying older fans while also leveling them up career-wise.

Relatives in Descent is a gloomy, menacing album, not for the listener looking for a good time. But from pointing out issues within their home city of Detroit to the disastrous place the world is in, Protomartyr are too smart to ignore the problems in the world. They are watching it burn and giving you their take in elaborate, intricate detail.

Sleep Well Beast is a heartfelt confession plucked straight from a middle-aged couple's diary on how good and bad things get, how we feel to leave at these tragic moments, how death touches us from that moment we learn to love, but most of all, it teaches us that love is worth fighting for and work has to be put in. No matter what.

While New Bermuda was an exceptional album, it felt like a reaction to all the hate that came with Sunbather, as if they felt they had something to prove to themselves. Here, they’ve made a sun-drenched California metal album and offer no apologies for it. Ordinary Corrupt Human Love is Deafheaven doing what they want for themselves.

Admittedly, it's a huge undertaking to listen through, especially for newbies, but much like Horseback's other releases, it's worth the effort.

On “When It Rain,” Brown shouts, “You ain’t heard it like this before,” like a madman. Atrocity Exhibition proves him right.

Transangelic Exodus is easily his most ambitious album but, for him, feels like a natural progression, seeing him find new ways to open up.

This is a great album start to finish, there isn’t any filler and one song flows into the next one perfectly.

They’re not afraid to step outside the box, and subsequently have crafted what is perhaps their best album yet, better than anyone could have expected of them at this point in career, and better than anything any of their peers have crafted in years.

Whether or not country is your genre of choice, it’s hard to knock Stapleton’s ability or skill on Traveller.

The closing few tracks aren't as strong as I envisioned but overall, Goodness hits the majority of marks it aims for.

Whether it's power-pop jams like the self-titled opener or the trauma of the slow burning, haunting "High Horse," there's a clear picture painted--in fact, it's a whole novel--on the bruises (emotionally and physically) scarring us for life. Marisa Dabice's vocals are once more a delight--powerful, earnest, honest and carrying--which is perfectly complemented by producer Will Yip.

The album itself is PROOF that chaos and anger and conflict and an open mind and fun is what gives Morris his strength, creativity, and singularity.

It's simple yet non-formulaic and finds the band providing another batch of delectable mid-tempo jams.

One of the most relatable, heartbreakingly specific albums of the year.