It's ... very much worth your while. Many bands should wish that their most impressive work was as good as Motion City Soundtrack's least impressive.

Williams seems to have mostly left behind the beach motif and the surf vibes for straight 90s alt-rock, and more often than not it works for him, but a few songs here (“Dog,” “Everything Is My Fault,” “I Can’t Dream”) fall flat on their face.

Gravity The Seducer has its fair share of tremendous moments, but unfortunately those moments begin to lose their gloss when entangled with fragments of inconveniently placed filler.

A good, solid, rock album that's certainly worthy of Four Year Strong's song writing talents.

Oceania lacks the emotional force that it needed to transcend what it is: a former rock star trying to sound vital again.

119 is more concerned about power flexing than it is being simple, fast, direct, and catchy (and there are way less 30-second spurts than before); it has a hefty presence of East Coast ferocity, and Spielman's signature chokehold commands the band's socio-political magnitude more than ever.

If anything, Tha Carter IV feels like a party, one that Wayne is throwing for his contemporaries in the hip-hop scene.

Go With Me certainly isn't a bad record by any means, but it just doesn't have the originality and lasting value that will keep people coming back for repeat listens.

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.

While there’s a healthy dose of filler on Sheezus, there’s still plenty of charmers.

For a band as talked about as they are, Voices needed to be a lot better. For now, it’s just okay.

Overall, Rudimental have shown themselves to be a talented band of men.

Nothin’ but Blood, the latest album from crass cowboy Scott H. Biram is a lopsided effort with some of the best songs Biram has ever written and some of the absolute worst.

Morrison’s occasional lyrical forays into cheeseball territory can detract from the record, but taken as a whole there’s more to like here than there is to hate.

It's a fun album with lyrics that, while they are not exactly impressive, apply to me and are fun to sing out loud.

Yours Truly is more tempered and less likely to put you in a beaming state of catatonia.

While the EP isn't the best material of the band's career, it shows a promising future that looked ever so bleak just a mere three years ago.

When Best Intentions closes, the rapid growth of the young band does not go unnoticed at all.

Slightly unfocused by design, Lantern broadens HudMo’s repertoire while also reaffirming his status as the premier producer of the sound that brought him to fame.

It’s cheeky, groovy, and it always sounds as though it’s teetering on the edge of being a genuine irritant.

The results are loud, punishing, totally lacking in subtlety, and at this juncture, almost completely predictable.

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

Unfortunately, there are quite a few pitfalls outside of just weak hooks. The pacing of the album feels a little off, and it starts pretty early on with "Los Awesome" being a jarring change from the opener "Gangsta," though the former is much more enjoyable than the latter.

It makes for a mixed bag of an album--occasionally the band sticks to their wheelhouse and sounds great, occasionally their normal stuff gets a bit stale; sometimes they experiment and it goes well, sometimes not.

Potential runtime issues aside, Rot Forever is a great record.

Sophomore albums always find bands trying too hard, struggling to live up to their magnum opus and Mind Over Matter has all the hallmarks of exactly that.

With Man on the Moon II: The Legend of Mr. Rager, it seems he's on the road to finding what works, with varying degrees of success.

With Common Courtesy...love it or hate it as you will...A Day To Remember is getting started all over again. And the album ensures that this band hasn't yet seen the peak of its popularity.