While the album is often an enjoyable listen, it is difficult not to wonder what the collective talents of Andrew Dost and Jack Antonoff of fun., or even the talents of a Sam Means of The Format, could’ve yielded to Grand Romantic’s songwriting.

Dopamine isn't his best record, and it might be his worst, but for one of the slyest songwriters from the past two decades of pop, "worst" can still be pretty damn great.

Connector tries to juggle too much in too short of moments, confining juxtaposing or conflicting elements to 15-20 second bursts, often between choruses.

Universal Themes has the makings to be one the year’s most intriguing collections of songs yet.

As with everything Van Etten puts out these days, it’s an essential release.

While Four Year Strong will never be the band that wrote Rise Or Die Trying again, they prove on their new self-titled record that they have bigger steps ahead than the ones they left behind.

Lil Durk's first album is lacking in a lot of things, the first being songs. Now, ten tracks is not necessarily too little of a number, but when half of the album is filler, that's when that number starts to work against you.

While it may not always work out in his favor, the high points here far outweigh the lows, and the takeaway from At.Long.Last.A$AP should be that Rocky is on his way to something even better once he finds his footing.

In Colour is neither a faithful regurgitation nor a distasteful bastardization of the past, but is instead a charming, effective attempt at bridging the gap between the two.

It's a return trip to the well that provided Nothing is Wrong, but one made by a band that has gained significant perspective, clout, and chops in the four years that have now passed since that record.

On their Bloodshot Records debut, the sextet have stepped up their game and have announced themselves as one of 2015's most important alt-country efforts.

The songs are still great, the live shows will still be raucous, and as evidenced by fiery album closer, "Til I Do It Again," Hoge's still got plenty of rebel left in him anyway.

At first blush, things are catchy, the drumming is incredibly interesting and it’s all over pretty quick. But delve into things, and nothing’s changed. Which is lazy on a few levels.

Everything here is well thought out and meticulously executed, it's just that Matsson makes it all seem so effortless.

With so much going on in these songs, they could easily have become overstuffed, but Moulder balances everything perfectly, creating a swell of sound that surrounds you with its hugeness, but doesn't lose clarity in the process. Suffice to say, this is a record that demands to be listened to on a pair of good headphones.

The Room’s Too Cold may have the memories, The Mother, the Mechanic, and the Path may have the ambition, In Currents may have the excitement, but Imbue is the best album that The Early November have ever released.

+- stands up to all of their previous records easily, and while there aren't any major shifts in their trademark formula, it is another step forward in the ever expanding career of the danish band.

New Glow has its moments, but you won't find it on many EOTY lists.

At this stage in his career, he is firmly focused on doing whatever he and his band want to do. That kind of artistic freedom should certainly be applauded, one just wishes the results were far more satisfying.

Instant Gratification is impressive and for the most part feels like a strong return to form for a band that's well adjusted in its own sound and aura, as Dance Gavin Dance continue to be an anomaly in a mostly tired and boring scene.

Even if The Damnwells feels a bit anticlimactic as a big reunion album, even if it isn't quite as good as either One Last Century or No One Listens to the Band Anymore, and even if it could have been improved substantially through the addition of a few more EP songs (particularly "Along the Way," a bittersweet Boyhood parallel that stands as arguably the best song Alex Dezen has ever written), it still largely succeeds on its own terms.

It's a version of All Time Low that not only has zero interest in moving past its pop-punk roots, but is embracing them with more vigor and pride than ever, laying the groundwork for punk bands that imagine a world where "maturing" doesn't mean leaving behind what you grew up loving.

There are far less cringe-worthy lyrics, and a sound that seems far more natural for the band as a whole.

Strange Trails is brilliantly paced, and each song itself is brilliantly paced.

Malin has always been a talent, but here, he parlays everything he does well into a single 45-minute burst, and he reaches his pinnacle as a result.

This album is perfect for those days when you just want to keep to yourself, when you feel like no one can be trusted. It's for anyone who has ever had the desire to forget their responsibilities and just make some damn music.

At its core, Kintsugi takes broken pieces and finds ways to put them back together into something new.

Carrie & Lowell leaves everything on the table, and as a result it's the most open, transparent and heartfelt record Stevens has made in his career. Sometimes, that's all you need in order to make a masterpiece.