Generally speaking, though, White Silence finds Cave In at the heaviest point of their career since 1998's Until Your Heart Stops--and easily at their noisiest and most experimental.

Some of Bury Me In My Rings lacks gravity, but Sennett finds emotional weight on acoustic "Jailbird" and album standout "Born To Love You." [Jun 2011, p.107]

Crisis Works has a hard time maintaining the momentum it jumps out of the gate with, but while it is going full throttle, all you can do is cling on for dear life and enjoy the hell out of the ride. [Jun 2011, p.111]

Owl City's second major-label effort is much more mature, dynamic and well-rounded. [Jun 2011, p.109]

Throughout the album, Face To Face continually prove they're the same melodically minded kids they always were, mixing crunchy guitars, gang vocals and catchy guitars leads to build a record that stands proudly alongside the rest of the band's catalog. [Jun 2011, p.110]

With Lions have always gone big, and with Holy Shit, they succeed in being anthemic without sounding overblown. It's a difficult balance to strike, but they've had the time to figure things out.

Diehard fans might miss Flogging Molly's manic moments, but Darkness' lyrical depth--and sonic diversity--are incredibly rewarding. [Jun 2011, p.111]

Amazingly enough, only a few tunes drag or fade into the background--a testament to how strong (and focused) the songwriting is on Submarine. [Jun 2011, p.111]

Tunnel Blanket serves as a perfect soundtrack to both the world's turmoil and its imminent collapse. [Jun 2011, p.109]

It's a refreshing turn from a band who easily churned out more of the same to little complaint. [Jun 2011, p.109]

Simple Math is a perfect interpretation of an imperfect man's life, and hopefully just another chapter in the larger story Manchester orchestra have yet to reveal. [Jun 2011, p.105]

This quietly experimental album ends up being Death Cab For Cutie's great leap forward--an achievement of pop formalism wrapped inside a beautiful cacophony. [Jun 2011, p.108]

The instrumentation and arrangements on Strange negotiations bring out the subtleties in Bazan's ever-evolving songwriting style. [Jun 2011, p.106]

On Brilliant! Tragic!, Argos has channeled his inner Johnny Rotten, seemingly vacillating between contempt and boredom. Fortunately, the band play with a similar sense of toughened rawness. [Jun 2011, p.106]

There are a kit if sounds present, but the band manage to make them come together as one. [Jun 2011, p.106]

In short, Augustana is every Top 40 radio programmer or licensing supervisor's dream disc. [May 2011, p.92]

With a decided mature edge over the Canadian twins [Tegan And Sara], vocalist/guitarist Kate Cooper and drummer/vocalist Damon Cox have reached their first pinnacle on their second album. [June 2011, p.106]

Philadelphia sideshow punks Man Man have reached a newfound crispness with the production guidance of Bright Eyes' Mike Mogis on their fourth album, Life Fantastic.

A varied set of songs that's imbued with the mysticism of folklore and the romanticism of rock 'n' roll, this EP is a chance to take stock of the long journey that Frank Turner has taken so far, before he sets off once more into the future unknown.

It's a shame that there's so little of note on Free, because Gil Norton's production is fantastic as usual. But bless his heart, it's ultimately a wasted effort.

The Beasties prove they've still got what it takes to rock the house -- Hot Sauce was definitely worth the wait.

It's an album that's easy to overlook, but careful listeners will be rewarded with a world of sound. [Apr 2011, p.122]

The result is their most haunted and harrowing album to date. [May 2011, p.98]

Unfortunately, the songs still suffer from the same downfalls as their previous material; the album lives in the safe middle ground between Shadows Fall and Underoath. [May 2011, p.96]

The group's ability to layer long, melodic arcs over squibs of dissonance has never been more surgical or soulful. [May 2011, p.92]

The hue of the proceedings feels significantly dialed-down and stark and the result feels more like a Jollett solo album and less like a great band flexing its myriad abilities. [May 2011, p.92]

Take Care, take Care, Take Care is their most lush offering to date, with the layers of instrumentation blurring together so sublimely, it's hard to discern what instrument might be making such a wondrous sound. [May 2011, p.92]

When Bayside's Anthony Raneri pops up on "Texas Mickey," it's just the cherry on top of yet another consistently great Silverstein record. [May 2011, p.96]

Hyro has much more on his mind than frat-friendly Bic-flicking; he tackles hip-hop stereotypes, the peculiar lure of the bad part of town and the end of the world as we know it in dynamic verses that go from a whisper to a scream without losing intelligence or intelligibility.

As powerful as the music is--and its strength is undeniable, as every muscle practically spasms in reaction to the desperate guttural screams that emanate from singer Jason Butler's mouth and to the violent and complex post-hardcore melodies produced by his four bandmates--as much weight is carried in the erudite, intelligent lyrics and themes that permeate these 14 songs.

With Safeways Here We Come, Chixdiggit! have released a record akin to Superchunk's Majesty Shredding; a band who never quite broke up seemingly come back from the dead with not only some of their strongest material to date, but also some of the strongest that the genre has seen.

The main frustration with Meyrin Fields is that neither artist seems hindered individually, only lost to elevate his respective partner in a meaningful way.

C'mon, which was the band recorded in an old church in their hometown of Duluth, Minnesota, has moments of slowcore brilliance. [May 2011, p.93]

"You outgrew the sum of your parts," he raps at one point; that line describes the mature and masterful The Family Sign, as well. [May 2011, p.92]

With brief nods to Black Sabbath and slower Slayer, Sever rolls 40 years of metal and hard rock into a big joint and smokes it all. [Mar 2011, p.92]

Too much of Human Hearts feels like a retread of what they've already done on previous LPs. [Apr 2011, p.115]

The one thing the album really lacks, though, is an obvious single. While many songs are memorable, there is nothing that suggests any of the tracks have the classic quality of "Juneau," "History," "Streetcar" or "Into Oblivion (Reunion)."

A highly charged and welcome return. [May 2011, p.93]

If Euphoric has a weak spot, it's that Glasvegas' desperation can become overwrought. [May 2011, p.93]

Even though No Devolucion might draw the ire of fans who prefer moshing over meditation, the result is a record that's progressive and, believe it or not, downright beautiful. [May 2011, p.97]

There's nothing here that will lead Disguises to be hailed as a masterpiece, because there's nothing here that hasn't already been done before--either by other bands or by Aiden themselves--but it's nevertheless a solid piece of work that demonstrates the power and passion of their dark melodies.

Finally, the coolest guy in rock makes a record worthy of his reputation. [May 2011, p.92]

Gimme Some is grounded in a guitar-based directness it seemed PB&J had left behind. [Apr 2011, p.118]

Polished studio effects notwithstanding, Belong's truest charms remain the songs themselves. [Apr 2011, p.115]

The second half loses momentum slightly. When in concentrated form, however, the Mountain Goats still manage to reach their peak. [Apr 2011, p.115]

It's all about perfect guitar tones, what frontman Rick Froberg doesn't say and the space Obits give their songs to breathe--even though it's evident it's not for lack of technical ability. [Apr 2011, p.115]

Too Young To Be In Love captures the primal pulse of vintage late-'50s/early -'60s radio bubblegum with a loving touch. [Apr 2011, p.115]

While we believe that Sum 41 have the potential to succeed without the aid of power chords, the fact that only a handful of the musical ideas on the album are fully developed makes for a frustrating listening experience.

Your ears may start to ache a little, but it also makes the album's eventual deliverance all the more divine.

While this may sound like an Oprah Book Club selection, it's Sims entertaining flow and producer Lazerbeak's ability to switch between dancefloor packers ("Weight") and worldly drum-circle loops ("Future Shock") which takes Bad Time Zoo through the ceiling.

It's impeccably crafted with a rich selection of subtle sonic touches--executive producer Butch Walker's undoubtedly due some credit--for bringing the songs to life. [Feb 2011, p.87]

There's more energy on Um, Uh Oh than in Say Hi's entire back catalog, creating wonderful tension with the songs' downcast sentiments. [Feb 2011, p.89]

Classic/stadium rock and brainy trash collide in "Tandem" and "Moonlight;" "Termites" rocks like Minus The Bear, Overkill and Yes; and it's obvious someone's discovered Mahavishnu Orchestra abnd Primus. [Apr 2011, p.118]

The duo-especially Urie, who turns in some of the premier performances of his career-sound absolutely recharged, likely a result of the lineup shuffling, but also perhaps a realization that the '70s were a nice place to visit for a couple years, but life in the 21st century is much more fun.

When You're Through Thinking, Say Yes sounds like less of a comeback and more of a homecoming. [Apr 2011, p.113]

Sure, their label debut feels slightly more hooky and accessible in places. But Darker Handcraft is mostly the same humble, misanthropic band, playing relentlessly, vicious, rapid metallic hardcore with their requisite flashes of D-beat, grind and thrash influence. [Apr 2011, p.122]

The most impressive aspect of Rogers' Thomas Giles persona is his ability to surpass the metalcore/mathcore trappings of BTBAM--it's probably the most versatile album to ever be released on Metal Blade Records. {Mar 2011, p.99]

Many songs have a steady drum-machine thump to keep the listener's attention focused, even as the low-key vocals nudge toward narcosis.

Angles ends up being one of the group's more compelling efforts, rather than the casualty of experimentation it could have been.

The album's missteps appear when the band slows things down; but for the most part, First World Manifesto is Pop-Punk 101, which is to be expected from a bunch of veterans. [Apr 2011, p.122]

The relatively hushed tone of Several Shades Of Why is unnerving at first spin, strictly when considering the auditory atom bomb of Mascis' well-documented projects; but the second go 'round clears the clouds, revealing a vast lo-fi victory. [Apr 2011, p.115]

The saccharine harmonies are still present on the title track; they're just augmented with more expansive arrangements that bring out a welcome new dimension to the band's sound. [Apr 2011, p.114]

Showing an impressive savvy in inviting perhaps unlikely artists to collaborate with them also leads to some of the record's highlights.

Thankfully, the band, aided by longtime producer Bill Stevenson (Descendents, Black Flag), have once again tapped into that intangible magic that makes them so great, and have delivered a full-on rager with Endgame.

With an occasional chest-bursting "yeeeeeeah", Vile avoids letting his most straightforward, circular songs fall into a stupor. [Apr 2011, p.115]

It's impressively well-wrought music, though no longer as instantly engaging, requiring several listens before its charms truly take shape. [Apr 2011, p.122]

While the album may not move you the way their first album does, maybe it'll just take a minute for the second one to sink in, too. [Apr 2011, p.120]

Blistering brittle and beautiful, this is a cold, winter wind of a record, perfect for shutting yourself away from the outside world as you mourn the passing of friends, loved ones and better days. [Apr 2011, p.118]

The Valley is an overall pleasant--and occasionally riveting--debut for the newly independent family. [Apr 2011, p.118]

Boston's finest prove that far from having nothing left to say, they're just getting started. [Apr 2011, p.114]

With stunning soloing by guitarists Mike Spreitzer and Jeff Kendrick further enlivening the proceedings, this is really is state-of-the-art metal designed to destroy everything unfortunate enough to be in its path. [March 2011, p.93]

He's a poetic if not somewhat mad genius on his own, but Peer Amid makes it clear Higgs is at his best pacing the prow of mighty musical vessel. [Mar 2011, p.99]

The Human Romance shows an experienced band trying new things and succeeding. [Mar 2011, p.92]

The contrasts of light/dark, father/son and sinners/saints never sounded so danceable. [Mar 2011, p.92]

The music is fresh and compelling, sure, but there's nothing in the lyrics or the instrumentation that leads one to assume these musicians haven't been acquiring experience on the road for a dozen years. [Feb 2011, p.90]

Full of power and their trademark delicate storytelling, Shipping News' latest is their greatest. [Dec 2010, p.116]

This is metalcore comfort food from two veterans, and little more. [Feb 2011, p.90]

The band have thankfully corrected course for their self-titled sophomore full-length, but Forever The Sickest Kids is still a frustrating listen at times.

This album is pure joy to listen to. [Mar 2011, p.96]

Characteristically, Mogwai surrender just enough melodic nuance to sustain superficial interest--without forfeiting the abstractions necessary to save the whole affair from sounding like Enya for art school kids. [Mar 2011, p.96]

The anger is what makes The People's Key's best moments so vital. [Mar 2011, p.98]

While the influences haven't fully melted, the hooks are particularly strong, abetted by a decorator's touch for texture and tone. [Mar 2011, p.99]

"Waves" may boast a certain post-punk urgency, but Dulli's on to something more seductive here. [Mar 2011, p.99]

For fans of hook-laden music, the album's a must. [Mar 2011, p.99]

Like most everything else here, it's a dancing no-brainer. [Mar 2011, p.92]

Meticulously orchestrated by frontman Conrad Keely, Tao Of The Dead hits a full-on prog rock pose with seemless transitions, classical movement structures and lunar background flourishes scraping the Dark Side Of The Moon. [Mar 2011, p.92]

The album runs a tad long--and it's difficult to suss out the band's individual voice from underneath the weight of their influences. [Mar 2011, p.92]

While the band might sound particularly confident on Killing Time, this attitude never turns into cockiness. [Mar 2011, p.91]

Gay For Johnny Depp succeed because they don't take themselves seriously and they know how to write a crushingly good hardcore song. [Mar 2011, p.93]

For a young, non-jaded Pantha Du Prince fan, though, this could resonate yet.

This 18-song, one-hour compilation is a spawling, hit-or-miss affair. [Jan 2011, p.90]

It's a great album to have on hand for a wild party, but piping it through your headphones will have you skipping tracks. [Feb 2011, p.89]

This quartet's latest work still bellows in and out with the urgency of a boxer's lungs, and new singer Arnold de Boer maintains a strident edge while adding a barely perceptible undercurrent of lightness. Missing is the low end. [Feb 2011, p.87]

The net result sounds like a band trying--and mostly succeeding--to merge their youthful past and mature present. [Feb 2011, p.87]

There Are Rules truly stands out in the members' collective catalogs as a completely unique entity, and one that should be viewed as nothing less than an absolutely stunning success. [Feb 2011, p.85]

The [absence of original bassist Dave Allen and drummer Hugo Burnham] is felt; at times, the album lacks the urgency and energy of the band's best work. Still, Content is an uncompromising experience. [Feb 2011, p.87]

Kaputt expresses equal slyness via gratiutious saxophone and trumpet solos. [Feb 2011, p.87]

[A] charmingly naive and magnificent record. [Feb 2011, p.86]