The unrelenting force of these songs almost becomes too much, but Waterfall is over before you know it and somehow leaves you begging for more.

What we end up with on Cope is not only an album that’s worth the wait, but one that seems to be pretty distinctly illuminating a path: soft-to-loud, simplicity over complexity and emotional release through power chords.

Just like the three-eyed beast that graces the cover, Wolverines is a mean and lean punk rock record that sets the bar once again.

Ledges is the kind of record that sounds great from the very first listen, but over time, as Gundersen’s words begin to cut deeper and take root, it transcends the mere prettiness that is so often the bread and butter of singer/songwriter records.

Issues' debut album is not only a more cohesive effort, but it's the immediate answer to naysayers who say claim the band will immediately fade away into irrelevancy.

This album may be a step up from his previous outing, 2012's God Forgives, I Don't, but Mastermind hints that the Rick Ross story may have nowhere else to go.

It's incredibly insular and sure of itself, but it's also smartly innovative.

Rooms Of The House is an album that refuses to be pigeonholed or boxed in by someone's standards of "what post-hardcore should be." Instead, La Dispute span multiple genres, tempos, and inspirations over the course of LP3, resulting in an album that's equally exhausting as it is enchanting.

This is Clark's most daring, uncompromising, infectious, and adventurous release yet, as St. Vicent features a musician challenging the very idea of what it means to be an artist in 2014.

Guilty of Everything is the sort of first album that takes itself too seriously in the most endearing way--it's something that must be purged before a band can move on.

It may not be groundbreaking or shocking, but it’s quite a good record nonetheless.

With albums as comfortable and likable as Twin Forks, there’s simply no reason to mourn Carrabba’s decision to give this new band his full focus for the time being.

Like its predecessor Indestructible Machine, the album belies her age and finds the singer churning out songs that are wise beyond her years.

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.

Wether or not Little Red is better than On A Mission is up for debate; the former is a much more consistent and even listen, but the latter features much higher highs and lower lows.

This is as good as any album post-punk/garage rock has produced in quite some time.

Morning Phase actually matches Sea Change in melodic beauty, and it might even surpass it in production quality, but the cryptic, repetitious lyrics of songs like “Blackbird Chain” and “Heart is a Drum” fall so far short of the devastating heartbreak that Beck wove on songs like “Guess I’m Doing Fine” and “Lost Cause” that it’s impossible to see this record ever achieving the classic status of its predecessor.

Cult unleashes some of the band's tastiest riffs and strongest songs yet while broadening Bayside's musical palate.

Ostensibly an album about finding hope and navigating through the pathways of solace, Augustines is a shimmering, first-rate slice of pensive and passionate indie-rock.

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.

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

If you want a refreshing, imaginative, heartfelt record which manages to be fun and emotional at once, So Long, See You Tomorrow provides everything you could want. Bombay Bicycle Club are the best at what they do.

The album represents a triumph for Have a Nice Life after six years of mostly silence, and is a more-than-worthy follow-up to Deathconsciousness.

Temples are a promising band that definitely has a great record--or perhaps several--in them, but this one isn’t quite it. It certainly does make for a colorful and fun listen though, so just unplug and enjoy the ride.

Kozelek’s rich, detailed lyrics here are revelatory, and the way he delivers them, in his sad, low, heartrending baritone, is nothing short of entrancing.

Echoing themes that bubble beneath the surface of all his work both with TSMZ and Godspeed, Menuck spins vitriol and tenderness, desperation and hope into a narrative that is both vivid and somewhat frightening.

Overall Wig Out at Jagbags isn't exactly a disappointing release, especially since it's far better than the breed of record many other artists multiple decades into their respective careers make. It is a frustrating one though.

Whereas Sinners... felt transitional, Cavalier Youth feels thorough; these tracks are freshly waxed and radio-ready.