Almost Everything is a triumphant, forward-thinking and near perfect effort. With a disc this good, the piano-pop genre just might have its new hero.

There's nothing to really chew on here, nothing to keep you coming back.

While they don't throw any curveballs or stir the pot too much, the band definitely stays true to their core, crafting yet another memorable piano pop-rock record with these stories.

The Dark Leaves is no less unassuming than anything else they've released, and about half of it is squarely in line with the material on their recent albums.

Certain songs on The Temper Trap are just not worth listening to more than a couple of times.

What Is Love? is a very enjoyable record and a lot better than what I expected. Christofer Drew has given his listeners a taste of his potential, because, musically, he knows what he is doing.

Nearly every song on this record is misogynistic in some regard, from the obvious predatory ramblings of “Animals” to the Robin Thicke-level douchebaggery of “Feelings.”

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.

Each song will become the soundtrack for Mean Girls soccer moms and pre-teen pre-sluts everywhere.

The record as a substantial body of work comes complete with up-tempo numbers that are danceable but without an enticing hook, a few straightforward pop/rock tunes with tremendous choruses, and an album ending ballad that renders the album slightly indifferent, inconsistent and lacking an underlying direction and purpose.

While not every song is up to a "Moves Like Jagger" or "Payphone" standard hook-wise, the co-writers and producers never stopped breaking into new grounds for the band throughout the record.

Night Visions is a disc laden with buoyant choruses, arena-ready swagger and armfuls of dance floor attitude.

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

While armfuls of musicians can sing songs and sound entirely forced, insincere and phony, Potts is blessed in that every word he sings sounds authentic, honest and direct. In a musical landscape chock full of Auto-Tune and feigned emotion, a disc like this is certainly something to champion.

The results of his recent output have been unquestionably subpar.

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

I mean, the guys have packed Streets of Gold with mindless, completely clustered romps through nothingness.

Over and done in less than 45 minutes, Crazy World is a fine album from a band who seems comfortable with their place in the landscape of contemporary music.

The songs themselves are a disaster. Everything is trashy and over the top, but generally rubbish too.... Basically, this is probably the worst album ever created by a serious group of musicians.

On their second go-around, the production is a lot cleaner and the transitions move a lot smoother.

The issue is that it's these screams and actual emotion that could have saved parts of Am I The Enemy, rather than the overproduced instrumentation and insipid vocal delivery that replaced The Red Jumpsuit Apparatus' edge. Thus, as the record ends, it's clear that third time proves not to be the charm here, unfortunately, as many of us who were fans of DYFI keep hoping for that band to return.

Agitations makes wrecking balls out of playground jacks in that it uses the same amount of destructive velocity as it does stimulate youth.