As a whole, Born and Raised is contrite, earnest and warm.

Picture Show may not have as much mainstream appeal as a song like "Animals", but it definitely shows a band honed in on creating enjoyable, addicting tracks that seem fresh without losing the hint of the past this album seems thankfully unable to shake.

[Harmonicraft] finds Torche further indulging their pop muse. The result is a set of songs that retains most of the heaviness we've come to expect at this point, but with even more single-ready ear candy than ever before.

Myth seems like one of those albums that can really thrive in a post-critical world.

With a record this charming, one can only hope they last two more decades.

DSOL speaks the dirty rocker punk kvlt language that could put Pantera and Gallows fans side by side.

The fiery temperament of former releases often gives way to that aforementioned arena-sized pop sensibility, making No Gods sound bigger (and more attractive) than anything this band has written before.

If Move Along got the name in lights, it's Kids in the Street that ensures The All-American Rejects to be burning bright for years to come.

Our Home is a Deathbed is not only a vulnerable record lyrically, but also for its time and place in the current hardcore scene as well.

Anarchy, My Dear is a record that promises that anything could happen at anytime, and Bemis and company do their very best to shake up what has been expected from them as a band.

This is one of the better electro-pop albums of 2011, one that will stimulate your senses and rope you in with its instantaneous catchiness.

The musicianship and songwriting is easily on par with Magic and exceeds the output on Working On A Dream, and as a whole, Wrecking Ball stacks up considerably with The Rising, which to this day I consider a top-5 Springsteen album.

Wide-ranging, engrossing and incredibly powerful it represents a new height for a band who has hinted at towering heights before.

Come Back As Rain is a pleasant...not a surprise, but reaffirmation...that Good Old War is one of the most talented bands around at this point in time.

This is Winterpills at their finest, this is Winterpills with a direction and a clear focus.

It's not all slow and mid-tempo numbers that litter the forty-five minute duration of The Slideshow Effect. There are also moments where the band is unafraid to lift the urgency, to create a semblance of sustained momentum, and to incorporate a few timely hooks and memorable melodies along the way.

The best songs from this album are all but unforgettable, and there are a handful of tracks that will certainly survive the test of time.

Bigger, badder, and louder than ever, Ex Lives will go down as the definitive Every Time I Die record.

When all is said and done, New Multitudes is a staggering work and a crowning achievement.

The duo shows an uncanny ability to write engaging pop nuggets.

All in all, it's a solid debut effort and one that never spares on electronic dramatics and an extensive array of far-ranging ideas.

It's the bold, adventurous and grandiose album that the Top 40 charts needs right now.

This is something that has no expiration date.

Animal Joy represents a remarkable band in their prime of their career and is a stunning success on every level.

Uncompromising, gritty and intense.

Once again, they have created an album that sounds very little like their past recordings and yet still sounds exactly like The Twilight Sad.

Despite the uncommon thread of the vocalists' raspy deliveries on each track, Be The Void never really settles into any sort of discernible pattern.

Like a rare, truly-great creepshow, it's the type of harrowing ride I want to experience again and again.