John Paul Pitts’ melodic prowess is what keeps me listening, even on a more chill album like Snowdonia. Something about his melodies and vocal timbre just hooks me and won’t let go. I just wish they would pump the volume back up!

Given Morello’s dynamite live sets with the E Street Band, it’s a shame that the Springsteen album with his biggest influence is so underwhelming.

The thought of trying to recreate “Abolish Government” or “Code Blue” a dozen more times for a new record probably didn’t appeal much to him [Jack Grisham]. If that’s the only TSOL stuff you like, you should pass on this. If you can keep an open mind, there’s lots to like about The Trigger Complex.

Coming Home scrubs away the band's aggression and tries to get more emotional, but all it does is end up sounding like that perv you'd never leave a drunk friend around.

Ultimately, it feels like too much is crammed in and AFI can't tell if they want to go pop, goth, retro or symphonic. And with something that schizophrenic, it undercuts a lot of what could have been diamonds in the rough.

This isn't a swing and a miss, nor is it a home run. It is an emphatic, resounding and diminutive crack to the wall, with a band that knows how to diligently round base cooly, calmly and collectively.

Some improved diversity and novel musical ideas make 13.0.0.0.0 a much more interesting listen, though, and it's nice to hear a math rock band bringing more than just math to their songwriting sensibilities.

A few songs impress but the majority is meant to fill radio stations and leave you wondering where the magic this band held went. Probably outer space...

Obviously these tracks are nowhere near as essential as the originals, but it’s two great voices singing a handful of timeless tracks, and fans of any of the artists involved would most likely enjoy at least a few tracks from Seth Avett & Jessica Lea Mayfield Sing Elliott Smith.

This is one of the most profound heart and soul records I've ever experienced.

Everything Now feels like everything's dead as it lacks any sort of freshness or intrigue.

The release is energetic, genuine, and not concerned with being “perfect.” Emotion and inflection beats systematic skill every single time and the lighting pace at which these tracks seem to have been laid down only makes them more compelling, more exciting, and more genuine.

If one doesn't expect the last great Stooges album and sets aside the hype, Ready to Die is actually a pretty good, satisfying proto-punk rock album.

IV is a worthy return that shows the Bronx still have those chops.

Fans of melodic rock music with a tinge of punk attitude will find plenty to sing along to here.

The yMusic songs certainly sound like Ben Folds music, except that they are frustratingly safe.

By combining the ragged, sloppy riffs of garage rock with the minor scales of death rock and darker music, the band create a haunting sound that also rocks the hell out.

Dog Party know how to make a kicking, moving, genuine, bona-fide rock tune with just two instruments and two voices.

If you’re a fan of slow, sad, acoustic songs, then this is an interesting EP for your collection. Either way, it’s a great midway point in Sorority Noise’s growing canon.

Real to Reel would have benefited from more diversity.

Better Nature tows the fine line between artistic and product and walks the right side quite well.

The arrangements are much tighter, the lyrics feel fleshed out in a time where we can't help but be cynical of humans, and overall what you get from Sebastien Grainger and Jesse Keeler is a buzzy spin on the rock genre that feels like two dudes just chilling while the apocalypse hits and everyone's running around with their heads on fire.

Admittedly, he plays to his strengths here more than in recent memory but again, some songs do just taper off like the reworked "Silent Key". Nonetheless, if you're a Frank fan, you'll enjoy, and if you're a cynic, well you might just find that there's not as much to hate here as you thought there'd be.

A nice rebound from the fan service of its predecessor, showing that even this late in the game, Alkaline Trio can still write better songs than the vast majority of their contemporaries and take them to uncharted waters when it feels right.

Transfixiation shows a dangerous band finally sounding as dangerous as their live show indicates.

For the most part, Dolly sounds great- her personality pouring through effortlessly, as well as her masterful way to inhabit a song without making it a caricature.

They try to be all vulnerable but come off overly cheesy with no real big hooks.

The pacing of Youth is near-flawless. It's a gloomy atmosphere but ambitious nonetheless.