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.