A number of the songs on Talon are very personal and show an uncommon, brutally honest vulnerability.

This album comes off as the most definitive and most complete that Joyce Manor have to offer.

Not the best Queens of the Stone Age record, but a respectable showing with a few absolute gems.

Much like their most obvious influence Motorhead, High On Fire have found a formula that works for them and they largely stick to it.

Back On Top isn't a bad listen but it falls short of that benchmark they set in the past.

This record really scrapes past [No Closer To Heaven] with so much more heart and soul. ... The most well-produced and expansive sound I've heard from TWY.

If you're looking for something that's as moody as it is calming, and as beautiful as it is atmospheric, Slowdive's for you. Just thank the heavens they came back to save us with these eight tracks.

All in all, the ten tracks are uncompromisingly honest and bittersweet, but another great chapter written.

Despite its vocal flaws, if anything, there is a great amount of care in Compton.

Adore Life would have been stronger as an EP, cutting off the fat and making something as lean and muscular as their songs. What we have though does suffice.

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!