There’s a lot of good here. The band’s personality has never shown through like this in the studio before.

Cool is not only a masterful release sonically, but it strikes a cosmic chord that few release can hit.

While the sound overall could be described as 80s jangle-pop, we’ve got hints of everything from early 70s Bowie and T Rex, to early-80s XTC to early-90s Vaselines and Beat Happening.

It's bitingly honest, thoroughly self-reflective and often, uncomfortably relatable. One of the best albums of the year.

Better Oblivion Community Center acts like something cultish, but it’s really an excellent collection of songs by two great lyricists. Neither really plays too far out of their comfort zone (even if “Exception to the Rule” brings back some Digital Ash nuances) but both lend themselves to the other. The result is an excellent addition to each artist's catalogue.

A profound confidence is demonstrated throughout the record and the group makes the timeless argument that strong simplicity beats fancy fretwork- and it always does.

On Clone of the Universe, Fu Manchu finds a good balance. They give fans what they crave along with something more unexpected.

With so many amazing tracks on tap, it's hard to single out which is deserving of repeated listens because they all are.

While it’s unlikely to have the same influence as his earlier work in Guided by Voices, this is an album that is likely to get repeated spins on the turntable. It also is a solid reminder, that Tobin Sprout is every bit the songwriter and musician that his former GBV cohort Rob Pollard is.

Their sound is fully formed, but they could stand to mix it up in song structure and technique, but that’s being picky. One of my favorite releases of the year and highly recommended.

For music fans that like their art on the more confrontational side, 22 minutes of Beneath California on your headphones will be time very well spent.

Pollard’s sheer output is intimidating. However, as this album proves, his quality control may be as good as anyone’s in the business.

Overall, not as diverse a record so points lost there, but definitely a move that gives this new iteration much more character.

This time, they're much more versed and diversified, expanding their borders in terms of storytelling as well. Chris Loporto's vocals drive the record home, especially on slow melodic burns like "Quitting" and "Molly's Desk", which all pop with a loud bang at the end, signifying what Can't Swim are about.

Open Door Policy is the album longtime fans have been waiting for. The lyrics are there and the music is there.

This album is much more interesting and engaging than Diaper, but just like with that album, the dancey, synth-heavy songs like Airplane's "TMNT Mask" are absent.

Ultimately, it's not a bad album, but not the greatest either.

I love the tempo changes across the record and while this joint might not be for all JEW fans, I think most will appreciate a band that still feels like art and less like product, and more so, once that reminds us don't just survive -- get out there, seize the day and live.

A record of imagination. A record of reality. Punishing and as accomplished as ever. They retain their best qualities--instrumentation-wise--and it's a pleasure to document how the technical skill of this band unravels in spades, yet again.

Going Grey isn't gold but it's definitely bright in terms of their future.

When it tries, it succeeds but when it doesn't, it really crashes into the ground face first.

Metz are at their most creative and their most liberal. II is one of the most in-your-face records you'll hear this year.

A New Wave of Violence is a perfectly titled blast of energy made by the best there are.

Working again with producer Brendan O’Brien, Mastodon maintains their polished technical expertise. The album is clean but not scrubbed of feeling.

The album certainly has epiphany, but it also raises as many questions as it answers. Oh, and the music itself is really, really, really, really good.

This album shows that newfound purpose, and more importantly, it shows that NOFX is still NOFX no matter if they embrace the ‘76 or ’16 punk mentality and that they are that much better because of it.

These are songs about everyday life at its most basic level. You'll have to decide for yourself whether that's enough.

Alex Edkins' vocals shine like never before with Metz's exposed sound bringing a grainy and emotional feel that the old albums crafted but which Strange Peace maximizes.