Overall, 13 Blues for Thirteen Moons shows A Silver Mount Zion at their hardest rocking, their most powerful, and their most irritating.

It’s an enjoyable ride, I can’t take that away from it, but replayability is slim and it quickly unveils humdrum and vapid songwriting the more you settle yourself into it. As with any album post De Mysteriis Dom Sathanas, Daemon serves up another solid dose of black metal that pales next to the album that started it all.

There is nothing overblown about the album, there's no sense of superiority here. This is the proof that Cudi fell from grace but was able to gracefully climb out of that dark place with a desire to be better, not just for himself, but for us.

Maybe Today, Maybe Tomorrow is the band's best release to date.

For better or for worse, Torches is a product of the here and now, and who can be mad at Foster the People for seizing it for all its worth? Get it while it lasts, boys.

Dom's sound has enough edge to satisfy the critics and enough energy to satisfy everyone else, but for what it's worth, this is the kind of album you don't have to think about for even a moment; sit back, sing a long, play it in the background, it doesn't matter. Just enjoy.

It does feel lesser when compared to Blems After Banging’s debut LP, partly because a lot of the novel intrigue has washed away post-Cry, but also because it feels slightly incremental in its employment of familiar tropes and introduction of diverting yet somewhat unnecessary ones. Nevertheless, the record still possesses an intoxicatingly spacey sense of style, the ambience of the music permeating the atmosphere and remaining like the smell of exhaled smoke. Whether it lingers for seconds, days, months, or even years after is a question entirely dependent on the listener.

SMD's latest is an exploration not just in sound, but in concept; it feels like a defining statement, not just for them but for dance music in general.

As with anything, there's catch; the 'good' only lasts four songs and about fifteen minutes out of a fifteen song, fifty-five minute record.

More than ever before, these songs spin on their own axes: and that fact alone makes this record as positive a step forward for Tycho as anything.

When You See Yourself is a welcoming return to form for Kings of Leon. It’s a nostalgia sucker punch for those in the right time, in the right place. It's an album that their fanbase will revel in.

What’s impressive is the wide swathes of bubblegum pop Vol. 1 manages to cover.

All You Can Eat is easily the band's funniest and most diverse offering to date, their confidence coming out in full force this time around.

It is a legitimately excellent record that lives up to (and sometimes even exceeds) the song writing standards set by the band on "Dirt" or "Jar of Flies."

His albums are usually quite long, but this one with its near hour and a half runtime might be a chore to sit through for even the most die-hard Sun Kil Moon fans. But there are some extraordinary movements on this thing.

Rumors of punk's demise may be exaggerated, but perhaps someone should tell Almqvist and company that it's long over for them.

At its core, Embracism is a full-fledged artistic statement that's at once endearing and wildly eccentric.

The Stepford wives of shoegaze.

Their debut LP does succeed, however, in meeting the expectations of their target demographic; delivering a consistent batch of ten catchy tracks that waste very little time getting to their contagious choruses.

Night of Hunters feels refreshing, unique, and utterly lovely; it's another great success in a career that has quite a few of them.

Simply put, Two Fingers is pretty much everything that anyone with an interest in clubtronica has been waiting for.

Metal Galaxy is easily the best and most entertaining release of Babymetal’s career, featuring a diverse array of songs that are all capably carried by Suzuka’s proficient vocals, improved songwriting, and an excellent production.

This album is surely a success, its just there is a lot of things that a great album like 'My Life in the Bush of The Ghosts' (which Ghosts sincerely seems indebted to) have that are missing here.

Forcefield stands proudly on its own, a meat-and-potatoes rock record that swings for the FM fences and gets by on Monks’ considerable personality and the band’s seemingly limitless energy.

Although Freedom isn’t the return fans were hoping for, there’s enough experimentation here to at least remind old fans of what made them adore the band in the first place.

No World For Tomorrow is Coheed doing what they do best; writing an excellent album, where the songs combine for a bigger effect together than they do individually.

This album finds Kasher engaging with capitalism in a way not heard since “Dorothy at Forty”, but while that song pointed out the excesses of the stereotypical American dream, songs like “Under the Rainbow” lament the deletion of that dream from our lives.

I Beat Loneliness continues their evolution, delivering an electronics-infused alternative metal sound that evolves into a melancholic and atmospheric catharsis that possesses a surprising authenticity and emotional resonance.