This isn’t horrible, but I can really only recommend Dead to the World to hardcore Helmet fans. The rest of you should just go listen to Meantime.

Apart from running repetitive with no real memorable tracks in the back-end, it's the cheese factor that ends up hampering the show.

Right now they still seem to be in the reactionary phase, rebelling against the slick pop punk produced for Warner Bros. Ideally they’ll find a happy medium but for now we have You’re Welcome.

Ultimately, it doesn't feel as differentiated as what the band did way back when, when their records stood out and urged you to pour sweat and tears into basement shows.

The big hooks don’t connect, swinging too hard for something both underground and mainstream. This is a feat these two have accomplished before, but on Material, it always sounds just out of reach.

Angry riffs and gigantic hooks build the base of the album and it's one heavily steeped in frustration and angst. Sadly though, as emotional and honest as the record gets, too many songs are forgettable and lack the punch possessed a couple years ago.

The result: an album with zero purpose but worth a listen.

As intimate as he gets, there's too strong a withdrawn feeling and one which severely takes away from an otherwise decent effort.

In a year that will see an actual new Gaslight Anthem album, as well as Brian Fallon's new side project Molly & the Zombies, The B-Sides can be easily skipped.

The songs are well constructed and the playing sounds authentic. ... The issue comes when Corgan begins to sing, and it’s not his nasally voice that doesn’t work. ... He still, too often, thinks his voice deserves to be the loudest in the room. He’s still a city boy hung up on big ideas.

The lyrics are cheesy and uninspiring at best.

Given Morello’s dynamite live sets with the E Street Band, it’s a shame that the Springsteen album with his biggest influence is so underwhelming.

Ultimately, it feels like too much is crammed in and AFI can't tell if they want to go pop, goth, retro or symphonic. And with something that schizophrenic, it undercuts a lot of what could have been diamonds in the rough.

This isn't a swing and a miss, nor is it a home run. It is an emphatic, resounding and diminutive crack to the wall, with a band that knows how to diligently round base cooly, calmly and collectively.

A few songs impress but the majority is meant to fill radio stations and leave you wondering where the magic this band held went. Probably outer space...

The yMusic songs certainly sound like Ben Folds music, except that they are frustratingly safe.

Real to Reel would have benefited from more diversity.

It’s a solid listen in its own right.

Good Charlotte know how to write a hit and a hook but their honorable intentions to be memorable fall short.

What's tough is that to get to the second half, you really have to drag yourself through some disappointing stuff earlier. If you can make it through, you'll find Zero isn't the disaster everyone thought it would be.

As it is, this gives us too many long, dull spots across the nine tracks and 48 minute run time. To be fair, there is some really good stuff here. There’s at least enough that hardcore Ministry fans are going to want to buy Amerikkkant. You just have to wade through a fair amount of filler to find it.

Ye doesn’t feel like that reinvention. If anything, this album feels safe, a word I imagine is insulting to the artist. ... However, Kanye has an incredible ear for production, more apparent on Pusha T’s DAYTONA. There are some excellent moments on Ye, but with only twenty-four minutes of music, some doesn’t cut it.

The spine and overall potential for a great record is definitely here but it was all about adding meat to these bones, and sadly, SSPU just comes off way too lean.

Chapter and Verse misses the mark in the sense that what it tries to achieve, Conduit already did in 2013. This album feels like a repetition of that and loses steam along the way.

AAF spread all their goodies out over these tracks with the rest of the album lacking energy. Sad to say, the other tracks feel drab and don't translate well at all.

Christmas Songs is a fun enough, but ultimately non-essential piece of the Bad Religion canon.

Quiet Slang was the stripped-down version of the band so we don't need acoustics like "Nobody Say Nothing" or "Nowhere Bus" or the piano-driven closer "Bar No One". They're catchy, sure, but I mean, they're songs we've heard over and over so if it ain't new, at this point, please fix it. I do commend the band for attempting to cut a new road with songs like "Stiff" but again, it's all about sex appeal here and I just can't connect with a band and a vocalist that comes off like a 17 year-old who is now trying too hard.

If you don’t want to listen to it, don’t. Weezer couldn’t care less. But for anyone that likes a good clean pop cover by a band who is very good at cover songs, hey, here’s ten songs for you.