Alex Edkins' vocals shine like never before with Metz's exposed sound bringing a grainy and emotional feel that the old albums crafted but which Strange Peace maximizes.

Going Grey isn't gold but it's definitely bright in terms of their future.

This album and The Party’s Over share many of the same problems that the band can't seem to shake off. Whether you were fan of Public Enemy, Cypress Hill or Rage Against The Machine first I think you’ll agree that this whole project just comes off as clumsy.

Upon first listen, the album may not seem like the next step in the band’s career but upon further inspection, the album feels like the next necessary move. Mat Kerekes vocals really shine through on this record as they always do. This is definitely something to listen to if you enjoy Run For Cover Records bands or Citizen.

This is a cohesive unit firing on all cylinders.

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.

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.

It's not loud or in-your-face. It's not preachy. Their stance is subtle yet strong.

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

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.

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.

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

Long and loses steam at times, but it delivers.

It has enough experimentation in it to throw off fans of old, but Every Country's Sun is a Mogwai album at heart. It's just marching to a different drum. It jars you like the Beasts of No Nation soundtrack but leaves you, as the title implies and wants, much more hopeful.

Good Nature is mellow and laid-back, everything they intended it to be. Hopefully, they add a hard rock or indie edge on the next effort as I think that sound suits them better.

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.

Science Fiction is one of their most real and most effective pieces of art. Mike Sapone's production was spot on again and the cover of those girls jumping from a balcony more or less sums up what you need to do with this. Close your eyes and jump right in.

Mike Patton fans know to expect the unexpected, and will love this. For Dave Lombardo fans, Dead Cross will be more of a stretch. If you’re an open minded hardcore fan (is that an oxymoron?), I can’t recommend this enough.

While there are unmistakable comparisons to bands like PUP and The Dirty Nil abound, Precious Art rolls on to mesh together a lot of influences while still standing on its own, carving out an identity that's as distinct as it is loud and catchy.

This album was inevitable, and while it lacks the substance of old, it's still full of.

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

It's tough to get through in terms of lyrics, but musically Waxahatchee deliver yet another piece of art.

Overall, Our Pleasure feels musically intricate on a new level--thicker basslines, much more pronounced drums and priding itself with a lot of guitar-driven character. It's them at their most distinct and honestly, most assertively powerful stance.

An endearing work of art from a band that undoubtedly have more magic up their sleeve, as they've consistently shown in the past. And as this album shows, they have a lot of love to share, and for us to feel.

Shane Told's lyrics cut deep as usual but his vocals have too many treatments applied to it here and come off over-produced. If you're looking for vintage Silverstein though, "Mirror Box" has you covered. It gets a bit too poppy later on with "Cut and Run" and "The Afterglow" but by that time you know what you got yourself into. A nostalgic trip that should be enjoyed for what it is--a look back at the salad days.

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.

There are no gimmicks. There’s nothing screaming for acceptance. Melodrama is a raw, real album under its sparkly clean production. One written for the masses but able to resonate with each individual listener.

Right now they still seem to be in the reactionary phase, rebelling against the slick pop punk produced for Warner Bros. Ideally they’ll find a happy medium but for now we have You’re Welcome.