It feels like a few tracks could have been cut to make it crisper and tighter but that aside, you definitely want in on this, what appears to be Hause's diary used as a eulogy.

Antisocialites feels like rebellion but it does end up conforming to the heart, which will become more weathered as Rankin moves along.

Is it a bad album? Nope, but it does feel a tad rickety and like maybe cutting a track or two would have helped the momentum better.

There is a clean, precise vision here resulting in powerful simplicity.

As a whole, Pissed Jeans have put out the best, harshest, yet most listenable album of their career.

Ultimately, the band ends up playing off each and every strength, backed by Oberst doing what he does best.

Crying’s progression into a new territory is an impressive one. The band truly shows how they have graduated from a chiptune band into a much more mature band still able to use elements from their old sound to form their new sound.

There are so many moments of catharsis despite a few songs feeling repetitive or filler. It's bold, jammed with raw emotion and to top that, brutally honest.

For the first time in their 11 years as a band, the Flatliners seem comfortable. This is their band; this is their sound.

["Pothole" is] about someone wanting to be placed atop the mantle, of someone who doesn't deem them worthy enough. Them feelings. This album is full of them and it's assuredly going to be dubbed their best work to date. I bet everything on it.

WHY? remains an ever-changing experiment. Moh Lhean pays off for the patient listener.

It works overall, but his nasally delivery over such a lengthy drone tune will test some listeners. But no matter how much Miller tweaks his approach, he still nails the finished compositions.

It's pretty intimate and will be deeply appreciated (especially the outtakes) if you're a fan.

Everything there was to like about Portugal. The Man before is present on Evil Friends and multiplied tenfold.

Hang is the product of a very experienced and talented band carefully crafting a set of songs. And they’re damn good.

Boring and tedious at times. But tension-filled and cinematic at others, which will leave you drifting into a beautiful abyss more often than not.

While each member's technically great at what they do, once more, the magic from the band's debut seems too hard to recapture and as a sum of all its parts, DGD comes up short on Instant Gratification.

"Breaking The Chain" and "War", give off a Linkin Park vibe for the 2000-2008 era of MTV and help prop 13 Voices up as one of the band's most radio-friendly and accessible albums to date. They do however take away from the rawness and grit diehards came for.

At 10 tracks, Savage Gold is lean enough not to wander, diverse enough not bore, and certainly heavy enough to smash skulls and pillage minds.

New Moon is an exciting, challenging and rewarding listen.

Iceage are showing more growing pains here than those acts did, but Plowing into the Field is still a big step for forward for Iceage, and a generally interesting listen, even if it's a bit much to take all in one sitting.

While Luciferian Towers evokes a lot of gorgeous imagery to soothe the soul, it lacks a lot of inventiveness and imagination I usually associate with the band.

Beauty & Ruin is more impressionistic than, say, the Mountain Goats' Sunset Tree, but it's still a vivid, moving story about dealing with abuse.

This is what angst sounds like when it ages gracefully, and this album is definitely worth a listen.

Unfortunately, Tape Deck Heart is not his strongest offering as a whole, but it features a number of fantastic tracks that could conceivably be "hits" and will surely become live staples.

The filler tracks don't resonate at all but still, for what it's worth, this record doesn't say just anything... for fans of Max and the band over the years, it says everything.

Integrity Blues is Jimmy Eat World's best record since Bleed American.