Check it out and let me know what you think! Here’s the link.

Gerald

P.S.: Due to current formatting issues, the fonts on the site are not the ones I originally chose. So for now, if you’d like to see the site in all its aesthetically pleasing glory, go to Dafont.com and download/install the font called “Growly Grin.” I’m currently working on a way for that font to show up automatically, but for now it will only work if that font is stored in your computer’s fontbook, which is quick and easy to do. Enjoy!

Standout Tracks

This happens frequently throughout the album, but in listening to “A Story To Tell,” you’d swear you were listening to A Day To Remember once you get past the epic  trademark Woe, Is Me strings. With unrefined screams, shouted background vocals and a poppy chorus filled with melodic clean vocals, this song serves as the first true glimpse of what this new lineup can do. Alligood shines when he gets the chance to show off his voice, which is a hybrid eerily reminiscent of Ronnie Winter of The Red Jumpsuit Apparatus, Kyle Pavone of We Came As Romans and Kellin Quinn of Sleeping With Sirens. Austin Thornton’s booming drums, Andrew Paiano and Kevin Hanson’s guitar and Brian Medley’s all attack the ears in precise and steady unison to serve as heavy breakdowns, making this a quality look at what to expect from this new lineup at their best.

However, the best song of the album is without a doubt “The Walking Dead,” which features a guest appearance from Memphis May Fire’s Matty Mullins. The brutal breakdowns and catchy choruses are all present, but what makes this song stand out are its attention to detail: subtle touches like the background sirens and dramatic strings give it an edge further enforced by the pleasingly aggressive lyrics: “So now it’s our turn to speak, you’ll have no choice but to hear us out / When we tell them about the truth and how you tried to sell us out / So just look out for yourself, it seems to be your pastime / So here’s your ticket to hell, it seems you missed it last time.”

Featuring the repetitive breakdowns of guitar-chugging and steady drumming that are most likely feeling overdone at this point, “I Came, I Saw, I Conquered”  does have a few neat tricks to liven things up, including a very nifty little breakdown transition comprised of a gun cocking and firing (a la Memphis May Fire). The epic strings return and follow an overly light section of screaming, but this is one of the few sections where Magliano’s throaty bellows are not only bearable, but somewhat engaging.

The Verdict

This newest album has its bright spots, but they don’t quite make up for the large amount of mediocrity that fills the rest of the time. At times, it’s even hard to tell whether this is Woe, Is Me or a weak version of A Day To Remember or Close To Home . The breakdowns aren’t as intelligently brutal, the choruses aren’t as engaging and the clever additions of strings that created drama the first time around aren’t quite as captivating anymore. Genesi[s] largely settles for a lot of repetitive guitar chugging and extended but uninteresting breakdowns, making for a very average followup. And between the unenjoyable unclean vocals and frequent F-bombs dropped within mundane lyrics, the band really doesn’t deliver on the promise shown by Number[s]. With both the post-hardcore elements and the catchy choruses slacking in all respects, Woe, Is Me will have a long way to go in order to win back disappointed fans the next time around. Fans of Attack Attack!, A Day To Remember, Close To Home, Asking Alexandria, Of Mice & Men, Blessthefall, We Came As Romans, The Red Jumpsuit Apparatus and Sleeping With Sirens may find something to enjoy here, but should expect more from a band that can surely improve from here.

Final Score:  5/10

Rank: 2nd (two total albums)

Track List

1. D-Day
2. F.Y.I.
3. A Story To Tell
4. With Our Friend[s] Behind Us (Feat. Caleb Shomo)
5. Nothing Left To Lose
6. The Walking Dead (Feat. Matty Mullins)
7. I Came, I Saw, I Conquered
8. Call It Like You See It
9. I’ve Told You Once
10. Family First
11. Nothing Left To Lose (Acoustic)

Standout Tracks

Broad in its scope and execution, “Welcome To The Black Parade” embodies the spirit and plot of The Black Parade, emphatically delivering a grand tale that is a pure spectacle to behold as it unfolds. Switching from a melancholy and slow introduction of piano and buildup drumming from Bob Bryar, this standout track swells and busts the tempo wide open with exhilarating guitar hooks and frantic drums that gives it a lively and fun vibe. Ray Toro and Frank Iero’s upbeat guitar riffs match Way’s uniquely shrill vocals to make this complex rock anthem and all its tempo changes all the more enjoyable and memorable.

Serving as one of the album’s more emotional and introspective pieces, the bluesy rock ballad “I Don’t Love You” adds variety and depth to an already impressive lineup. Mikey Way’s groovy bass line adds to the bluesy rock feel, while Gerard Way dominates the proceedings with gloomily impassioned vocal fluctuations. The background vocals and guitar-chugging lend to the melancholy tone as well, making this ballad an enjoyable display of the band’s versatility.

“Teenagers” is not as memorable as “Welcome To The Black Parade,” but it certainly is the most fun and functions well as the album’s feel-good, fist-pumping arena rock anthem. The quirky additions in the background add to the catchy chorus as resonating guitar riffs and splashy drums pave the way for Way to cry out, “They say that teenagers scare the living s**t out of me / They could care less as long as someone’ll bleed / So darken your clothes or strike a violent pose / Maybe they’ll leave you alone but not me.”

The Verdict

With aggressive delights like “Famous Last Words” and “The Sharpest Lives” to complement sentimental rockers like “Disenchanted” and “Cancer,” My Chemical Romance delivers their most cohesive and complete album yet. Harnessing the combined rock spirit of Queen, Bowie, Pink Floyd, the Beatles and The Smashing Pumpkins, My Chemical Romance has never sounded better than this classic rock ‘n’ roll sound. The screamo influences are still present, but don’t overpower this classic rock sound, making The Black Parade a simultaneously fresh and familiar experience. Fans of Green Day, The Used, Fall Out Boy, Panic! At The Disco, Escape The Fate, 30 Seconds To Mars, Rise Against, AFI, Queen and David Bowie should be right at home with this album, which soundly proves that sometimes breaking outside the mold is more than worth it in the rock genre.

Final Score: 9.3/10

Rank: 2nd (four total albums)

Track List

1. The End.
2. Dead!
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Don’t Love You
7. House Of Wolves
8. Cancer
9. Mama
10. Sleep
11. Teenagers
12. Disenchanted
13. Famous Last Words
14. Blood

Standout Tracks

Although this album is a spiritual successor to Tell All Your Friends, that doesn’t mean Taking Back Sunday has nothing new to offer, which is emphatically proven by the raging rocker “El Paso.” Easily one of the heaviest songs the band has ever written, Lazzara’s raspy and throaty vocals mesh well with Mark O’Connell’s booming drums and the soulful riffs of Nolan and Eddie Reyes. Cooper’s groovy bass hook is also noteworthy, adding a lighter and cooler touch to the song’s edgy nature. Capturing the untamable spirit of rock is no easy feat, but this heavy headbanger is nothing less than an alternative rock gem.

However, no song on Taking Back Sunday is superior to “Faith (When I Let You Down),” an extremely catchy and enjoyable tune that could easily fit in anywhere on Tell All Your Friends. Featuring gentler verses of keyboards, humming guitars, light drumming and Lazzara’s soft and electronically distorted vocals, this song kicks into overdrive for each urgent and sincere chorus filled with guitar-chugging, pounding drums and Lazzara’s clairvoyant singing. The use of 30 Seconds To Mars-esque background harmonizing vocals adds a nice touch to each bridge, but Lazzara’s passionate words during each chorus steal the show as he wails, “When I let you down, look past your doubt / Just please don’t loose your faith in me.”

With its relaxing guitar riffs and Lazzara’s soft vocals, “This Is All Now” also starts off on a more reserved groove, but the chorus once again steps up the tempo for another wonderful kind of chorus only Taking Back Sunday and Lazzara can deliver. This song not only shows TBS still has it, but also calls to mind all the endearing memories of happily rocking out to Tell All Your Friends with its eerily similar and ultimately pleasing sound.

The Verdict

There are a few misses on Taking Back Sunday, such as the uninteresting “You Got Me” or the downright annoying “Money (Let It Go),” but the majority of this new album calls to mind the good old days of Tell All Your Friends. The return of the original lineup promises more Taking Back Sunday goodness to come in the future too, so this first venture, though flawed, is a very good sign of things to come. With upbeat tracks like “Best Places To Be A Mom” and the sentimental ballad “Call Me In The Morning,” there’s a good deal of variety to be had, even if it all just feels like little more than a spiritual successor to the band’s debut. Still, if there was ever a Taking Back Sunday album to replicate, it’s Tell All Your Friends, which makes this new album a must-listen for fans at the very least. Fans of Brand New, The Starting Line, Straylight Run, Say Anything, Motion City Soundtrack, Senses Fail, New Found Glory, Jimmy Eat World, Fall Out Boy and The Wonder Years will be able to appreciate this new outing and should eagerly anticipate what’s to come in the future.

Final Score: 7/10

Rank: 4th (five total albums)

Track List

1. El Paso
2. Faith (When I Let You Down)
3. Best Places To Be A Mom
4. Sad Savior
5. Who Are You Anyway?
6. Money (Let It Go)
7. This Is All Now
8. It Doesn’t Feel A Thing Like Falling
9. Since You’re Gone
10. You Got Me
11. Call Me In The Morning

Standout Tracks

Although the majority of Infamous lacks the consistent presence of synthesizers that made Creatures so enjoyable, “Devil’s Night” brings a touch of electronic influence to go with the newer emphasis on incredibly aggressive composition: Angelo Parente’s lightening-quick drumming and the resonant, buzzing riffs and chugging from Ryan Sitkowski and Ricky Olson are topnotch. As the best song of the album, “Devil’s Night” establishing the album’s hardcore vibe and never lets up despite Joshua Balz’s pleasant keyboard and synth additions, which even include some Linkin Park-like turntables.

With its raging electric guitar riffs and and a thrilling and positively spooky chorus, “Burning At Both Ends” is a close second behind “Devil’s Night” for the best song of Infamous. A sultry and compelling bass hook from Devin Sola shines as one of the song’s best moments, but every unstoppable wave of guitar riffs and pounding drums is just as impressive as Cerulli cries out, “I’m holding on to a life I’ll never get back, it’s too hard to let go / I’m on the right train but the wrong tracks, trying not to derail / Nothing is like it was before, I know not who I am anymore / Chasing something that’s behind me, when will I be set free? / Broken promises left to mend, burning the candle at both ends.”

“Sinematic” changes the pace with a brooding and electronic-powered goth ballad that captivates and haunts at the same time. Cerulli’s clean vocals are mystifying and pure at the start, but soon progress into high-pitched wails and raspy shrieks that convey desperate emotion appropriately for such a dramatic and powerful song. As the guitars and synth beats rev up for its climactic finish, it’s impossible not to marvel at this young band’s skill and masterful composition, especially as the humming guitar riff fades out with the sad but stirring piano.

The Verdict

If Creatures was not meant for the faint of heart, Infamous is acceptable for only the most hardcore. With jaw-dropping drum beats and in-your-face guitar-chugging, Motionless In White steps their metalcore sound up to another level with a heavier and downright wicked followup that is entirely superior to its predecessor. If you can stomach this kind of ruthless and tenacious sound with truculent songwriting to boot, Motionless In White’s Infamous may be the album for you. From the welcome guest vocals of Bjorn Speed Strid on the raging “Puppets 2 (The Rain)” to the synth-filled aggression of “If It’s Dead, We’ll Kill It,” Motionless In White goes harder than ever before without straying too far into overwhelming territory. Fans of Miss May I, The Word Alive, Of Mice & Men, Scarlett O’Hara, Memphis May Fire, Marilyn Manson, Asking Alexandria and My Ticket Home will be able to relate to this band’s heavy sound, but not many come close to this kind of well-crafted savagery that just demands playtime on any hardcore fan’s Halloween playlist.

Final Score: 8/10

Rank: 1st (two total albums)

Track List

1. Black Damask (The Fog)
2. Devil’s Night
3. America
4. Burned At Both Ends
5. The Divine Infection
6. Puppets 2 (The Rain)
7. Sinematic
8. If It’s Dead, We’ll Kill It
9. Synthetic Love
10. Hatef**k
11. Underdog
12. Infamous

Standout Tracks

The constant guitar-chugging of Jason White, Mike Dirnt’s twangy bass hook and wonderfully rhythmic drumming of  Tre Cool on “Stop When The Red Lights Flash” proves that Green Day still knows what it takes to make a good song, despite some of the album’s other tracks falling off a bit. The background vocals a sense of fun to each rocking chorus and bridge, while Billy Joe Armstrong delivers the type of glorious punk vocals fans have come to expect from the band. The lyrics leave a bit to be desired, but the upbeat rhythms and impressive composition make it an excellent addition to the album.

Dirnt’s groovy bass hooks usually play a prominent role in Green Day’s songs, but they rarely turn a song into a light and catchy tune like they do on “Stray Heart.” Despite the fact that this still isn’t Green Day’s A-game, the straightforward, sing-along nature of each chorus combined with easygoing riffs and a few solos thrown in makes it an entertaining and mindless listen, which might sound like criticism, but is actually praiseworthy in this song’s simple appeal.

Written after Amy Winehouse’s passing, “Amy” is a mellow acoustic track, melancholy in its lyrics but pleasantly soothing in its composition. Armstrong’s vocals aren’t anything special and the tempo feels a little too fast for a track of this type, but the sad and beautiful words ring true regardless for a memorable end to the album.

The Verdict

Musical eclecticism is a trait worthy of praise within the rock genre, but Green Day’s ¡Dos! pushed the limit a bit, feeling more jumbled than anything. From the Oasis-like vocals on “Wild One” to the guitar riff of “Makeout Party” that sounds strikingly similar to “East Jesus Nowhere,” it feels like the band is just making music for the sake of making music at times. And that’s before mentioning the appalling “Nightlife,” made even worse by Lady Cobra’s rapped verses. You read that right, rapped. However, there are some stellar tracks worthy of praise, such as the Wolfmother-reminiscent “Lady Cobra” and “Lazy Bones” which has some of the most enjoyable guitar riffs of the whole album and background vocals that show just how good Green Day is at crafting lighter and agreeable rockers that take the listener back to the happy days of punk rock goodness in the 90s. With a garage rock sound, fans of Foxboro Hottubs, Sum 41, Franz Ferdinand, Pinhead Gunpowder, My Chemical Romance and Oasis should be right at home. ¡Dos! won’t quite appeal to all fans the way ¡Uno! did, but it’s still a decent listen and certainly isn’t bad enough to discourage Green Day from devouring ¡Tre! a month from now.

Final Score: 7/10

Rank: 6th (eleven total albums)

Track List

1. See You Tonight
2. F*** Time
3. Stop When The Red Lights Flash
4. Lazy Bones
5. Wild One
6. Makeout Party
7. Stray Heart
8. Ashley
9. Baby Eyes
10. Lady Cobra
11. Nightlife
12. Wow! That’s Loud
13. Amy

Standout Tracks

Between Mike Kennedy’s animated drum beat, the lively guitar riffs of Matt Brasch and Casey Cavaliere and some prominent synth rhythms, “Keystone State Dude-Core” quickly establishes the fun tone and heavier sound of Get Stoked On It! This highly entertaining leadoff also serves as an indicator of the hilarious and ridiculous kind of premises to expect the rest of the way as Campbell gives his version of truth on what it means to be young: “We’re six dudes from the Keystone State, we’re broke as f**k but we can’t complain / We haven’t showered in at least four days, this s**t’s a bust but we’ll get stoked on it.”

“Bout To Get Fruit Punched, Homie” has one of the most unique premises in the history of pop punk in addition to highly appealing synthesizers to back it up. Told from the point of view of Mr. Kool-Aid, Campbell tells an amusing and somewhat dark tale of betrayal on the part of his friend Cap’n Crunch. The concept of two childish and popular advertising cartoon characters peddling drugs and committing crimes is priceless and the serious tone of Campbell’s tragic story is too ridiculous and hardcore to not make the listener laugh, which allows the band to somehow accomplish their goal of fun without crafting anything overly complicated or masterful.

Josh Martin’s bass hook provides the underlying aggression for the other guitar riffs of “Zombies Are The New Black,” yet another entertaining but compositionally lackluster pop punk rocker. The heavier sound of Get Stoked On It! is most apparent here with some unclean vocals that don’t really enhance the quality of the song and feel a bit force, but the catchy, synth-ridden chorus makes up for it.

The Verdict

With its pop punk hooks and synthesizer-heavy setlist, Get Stoked On It! entertains at times but falls short of impressing anyone not paying attention to its clever and humorous songwriting. Campbell’s harsh vocals, constant guitar-chugging and overzealous synth rhythms will attract a fair share of pop punk fans, but the combination feels overused by the time this debut’s run its course. Fans of Motion City Soundtrack, Four Year Strong, Set Your Goals, Fireworks, Man Overboard, Veara and The Starting Line should find something to enjoy here, but The Wonder Years’ artistic progression in later albums should be much appreciated after giving Get Stoked On It! a spin.

Final Score: 6/10

Rank: 3rd (three total albums)

Track List

1. Keystone State Dude-Core
2. Bout To Get Fruit Punched, Homie
3. Buzz Aldrin: Poster Boy For Second Place
4. Let’s Moshercise!!!
5. What If We [Swam] Into Nothing?
6. Racing Trains
7. Zombies Are The New Black
8. We Were Giants
9. My Geraldine Lies Over The Delaware
10. Dude, What Is A Land Pirate?
11. I Fell In Love With A Ninja Master
12. When Keeping It Real Goes Wrong

Standout Tracks

Following the killer opener, “Death Do Us Part” offers another heavy song, but this time with a much catchier chorus and less screaming as the album’s best song. Lead singer Torry Jasper’s  aesthetically pleasing vocals fluctuate well between pitches and are phenomenal when set to an infectious backdrop of surging, resonating electric guitar riffs from Adam Rogers and Dan Parker, a deep and groovy bass hook from Johnny Abdullah and a rhythmic drum beat from Jonathan Kelly. And while the subject matter of this song’s lyrics isn’t quite sophisticated, the memorable imagery of each enjoyably raucous chorus is undeniable: “I stole your heart, ripped it out and smashed it on this floor / You have no need for such a useless thing, broken forever more.”

Providing the heaviest song of the album, “Know One Knows” puts the pedal to the metal and doesn’t let up with constant guitar-chugging, booming drums and Jasper’s alternation between throaty screams and distorted background clean vocals. The chorus lets Jasper cut loose even more with anguished wails and screams, but is just catchy enough to keep more casual listeners tuned in. But despite its likable chorus, “Know One Knows” gives an engaging and dramatic look at A Change Of Pace’s post-hardcore side that is sure to please more hardcore fans.

While most of their songs feature a flurry of activity for the verses and catchy choruses, “A Farewell To Friendship” shows A Change Of Pace’s musical versatility with an acoustic ballad that Jasper owns with vocals that are composed when they need to be and strained when his emotion can no longer be contained. The acoustic guitar sets the mood but the addition of string instruments gives it a more sophisticated and refined sound and make it a nice change in tempo for the album.

The Verdict

An Offer You Can’t Refuse has its flaws, but in spite of a few novice moments, A Change Of Pace impresses with a truly absorbing debut. Jasper’s balance between harsh screams and high-pitched singing is extraordinary to behold, even if his vocals are a little rough around the edges at times. And while scaling guitar riffs and fervent drum rhythms are present throughout, the style changes from post-hardcore to pop punk to alternative rock and emo, often within the same song, making the album an incredibly eclectic and all-encompassing experience. Fans of The Red Jumpsuit Apparatus, Hawthorne Heights, Hit The Lights, Sugarcult, Amber Pacific, The Starting Line, Holiday Parade and Just Surrender should find something to enjoy here, but A Change Of Pace’s appeal extends beyond the boundaries of one single genre. Monitoring this band’s musical progression could be well worth it if they continue to mature and craft new and entertaining music in the future.

Final Score: 7/10

Rank: 2nd (two total albums)

Track List

1. Loose Lips Sink Ships
2. Death Do Us Part
3. Every Second
4. Asleep At The Wheel
5. December
6. Know One Knows
7. Home Is Where The Heart Is
8. A Farewell To Friendship
9. Chippie
10. Goodbye For Now
11. Queen Of Hearts

Standout Tracks

“Natives” sounds like it could have been pulled off of any of Blink-182’s older albums: Travis Barker’s complex and incredibly infectious drum rhythm sets the upbeat tempo, Mark Hoppus’ prominent, twangy bass hook provides the ground layer and Tom DeLonge’s scaling guitar riffs build up the anticipation to make this an instant delight. DeLonge’s patented nasally vocals feel as welcome and enjoyable as ever for each energetic verse while Hoppus’ deep-toned and reserved vocals counterbalance the buoyant chorus as he delivers the same type of fun yet profound lyrics fans expect from Blink-182: “I’m just a bastard child, don’t let it go to your head / I’m just a waste of your time, maybe I’m better off dead / You turn us loose in the night, I’m f**king Jekyll and Hyde / We’ll have the time of our lives although we’re dying inside / So let me go.”

Following the invigorating “Natives” is “Up All Night,” one of the heavier songs the band has ever written. The opening atmospheric guitar riffs are outmatched only by DeLonge’s echoing vocals for each bridge, but the lighter choruses end with Blink-182 rocking out to humming guitar riffs and pounding drums. The interplay between the two vocalists is enjoyable as always as the band delivers another surprisingly insightful and reflective track that somehow comes off as pleasant fun. But despite the heavier nature and the catchy chorus, DeLonge provides one of the more sincere and introspective choruses of the album when he says, “Did I get this straight? Do you want me here / As I struggle through each and every year / And all these demons, they keep me up all night.”

“After Midnight” is one of the album’s mellower tracks, slowing down the tempo to add an easygoing and heartfelt track that speaks truth about late nights, troubled relationships and youth in general, areas that Blink-182 has always been proficient in. Hoppus once again handles the choruses which are set up perfectly by DeLonge for each calm verse.

The Verdict

Blink-182’s reformation generated a lot of excitement and rightfully so. But their triumphant return isn’t quite as glorious as some would have hoped for. Neighborhoods is highly enjoyable and provides fans with a new batch of lovable singles that will surely be played on repeat along with their hits of the past. But it is also a flawed and short experience. One would think that after waiting eight years for a new album, there’d be more than ten songs once the band finally regrouped and gave fans a taste of new music. Unfortunately, this is not the case, as Neighborhoods leans more toward the short and sweet category with the fast-paced “Heart’s All Gone” and the atmospheric closer “Love Is Dangerous.” Fans of bands like Green Day, New Found Glory, Yellowcard, Angels & Airwaves, +44, Taking Back Sunday and Sum 41 should be familiar with this endearing style of pop punk, even if it doesn’t last as long as it should. Ultimately, Blink-182’s long-awaited return is well worth the wait. But anyone who was expecting the band’s reformation to provide their defining work may be disappointed: this is no Enema Of The State and this is not Blink-182. But it is a fresh and exciting new dose of Blink-182 that will surely please anyone eagerly hoping for the band’s return.

Final Score: 7/10

Rank: 4th (six total albums)

Track List

1. Ghosts On The Dance Floor
2. Natives
3. Up All Night
4. After Midnight
5. Heart’s All Gone
6. Wishing Well
7. Kaleidoscope
8. This Is Home
9. MH 4.18.2011
10. Love Is Dangerous

Standout Tracks

Blaring guitar riffs and pounding drums open “American Idiot,” the album’s title track and phenomenal leadoff track. From Tre Cool’s spunky drum beat to the white-hot guitar riffs, this incredibly infectious and fun single is charged with political angst and disdain for the man that traces back to rock music’s origins. Armstrong is supremely confident in his defiance, showing no fear as he boldly proclaims, “Well maybe I’m the f****t America, I’m not a part of a redneck agenda / Now everybody do the propaganda and sing along to the age of paranoia.” The irreverent resistance embodied by the enjoyable guitar hooks and vulgar lyrics of “American Idiot” are simply too much fun to ignore, starting the album off on an electric note.

Following the pure and unadulterated joy of “Holiday,” Armstrong and company provide the first truly somber note of the album with “Boulevard Of Broken Dreams,” a melancholy hard ballad that speaks of loneliness and depression. The echoing resonance of Armstrong’s opening guitar surges with power and immediately draws the listener in, while Mike Dirnt’s deep bass hook adds to the gloomy atmosphere. Closing the song on a spectacularly epic note, Armstrong stops singing and lets the band’s music speak for itself with heavy riffs and the deep rumble of drums.

But for all their political sarcasm and amusing imagery, Green Day proves they aren’t a one dimensional group with the incredibly powerful rock ballad “Wake Me Up When September Ends,” which is easily the most profound piece of music the band will ever write. The light and endearing guitar riff gives the song a sense of sadness and reflection, while Cool’s steady but heavy drum beat adds to its majesty and larger-than-life atmosphere. But here is where Armstrong shows his greatest skill and poise, delivering heartfelt and composed vocals, even when the bigger and heavier moments come. The song’s excellent composition is matched only by its strong anti-war sentiment in its heartbreaking depiction of losing loved ones during war, making it the best song of American Idiot by far.

The Verdict

From the masterful composition and narrative of “Jesus Of Suburbia” to the outright arena rock of “St. Jimmy,” Green Day shows versatility and true musicianship for the first time in their career. Although Dookie will always hold a special place in punk fans’ hearts, it’s impossible to ignore the incredible progression Green Day makes with American Idiot, a more meaningful and musically eclectic entry in the band’s already impressive repertoire. From its superb guitar riffs to Armstrong’s well-suited vocals that perfectly match the tone and mood of each song, American Idiot surges with unruly fun, political opinion and sincere sentiment, making it the band’s defining album worthy of mainstream recognition. Fans of My Chemical Romance, Blink-182, Rise Against, Sum 41, Franz Ferdinand, Fall Out Boy, The All-American Rejects and Jet likely already hail this album as the rock masterpiece that it is, but there is no doubt that American Idiot marks a turning point for the band and represents a vastly improved and ultimately more memorable Green Day.

Final Score: 10/10

Rank: 1st (eleven total albums)

Track List

1. American Idiot
2. Jesus Of Suburbia/City Of The Damned/I Don’t Care/Dearly Beloved/Tales Of Another Broken Home
3. Holiday
4. Boulevard Of Broken Dreams
5. Are We The Waiting
6. St. Jimmy
7. Give Me Novacaine
8. She’s A Rebel
9. Extraordinary Girl
10. Letterbomb
11. Wake Me Up When September Ends
12. Homecoming/The Death Of St. Jimmy/East 12th St./Nobody Likes You/Rock And Roll Girlfriend/We’re Coming Home Again
13. Whatsername

Standout Tracks

The brooding, heavy rocker “So Cold” opens We Are Not Alone on an aggressive and dark note that sets the atmosphere for the entire album. The quiet, twanging buzz of electric guitar starts it off as a pensive song, but it quickly escalates into a full-fledged headbanger accentuated by pounding drums and pulsating guitar riffs. Burnley’s sweet voice soon turns into gruffer shouts for the steady but heavier chorus. But more impressive is the dramatic bridge which simultaneously builds and unleashes tension for this terrific leadoff’s conclusion.

The buzzing resonance of electric guitars immediately sets “Sooner Or Later” apart from the rest of the album, while a surprisingly catchy chorus proves the band’s ability to balance heavy hooks and enjoyable sing-alongs for hard rock fans. Burnley’s fluctuation between pitch-perfect and coarse vocals is exemplary again, but the vocals shine all the brighter thanks to the amount of angry sincerity and intelligence in the lyrics: “Sooner or later, you’re gonna hate it / Go ahead and throw your life away / Driving me under, leaving me out there / Go ahead and throw your life away.”

Although “Forget It” is pleasant enough, “Rain” easily sets the bar as Breaking Benjamin’s best ballad. The acoustic guitar and Burnley’s crystal-clear voice ring out with clarity as the sound of trickling water enhances the song’s melancholy and contemplative tone. The following “Hidden Track” adds the twist of raising the intensity for a more dramatic rocker, but “Rain” is the superior version if only for the diversity and heartfelt presence it brings to We Are Not Alone.

The Verdict

From the thrashing drums and scaling riffs of “Believe” to the upbeat grooves of the catchy “Simple Design,” Breaking Benjamin offers fans a unique selection of tracks that proves itself to be the band’s most versatile and ultimately enjoyable work yet. The hard rock intensity is still largely intact, but Breaking Benjamin expands their range with more melodies and some infectious choruses that are too enjoyable to ignore. Fans of Three Days Grace, 12 Stones, Sick Puppies, 10 Years, Trapt, Chevelle, Seether and Evans Blue will be right at home with this terrific record, an instrumental one in shaping the face of hard rock and Breaking Benjamin as we know them. From improved composition to the band’s greater exposition of their skill, We Are Not Alone offers a melodic and hard-hitting experience enhanced even further by Burnley’s impressive vocals and songwriting. Saturate was memorable for its raw hard rock feel, but Breaking Benjamin’s sophomore albums hows how much more prolific a touch of melody can be for that enjoyable formula.

Final Score: 8.5/10

Rank: 2nd (four total albums)

Track List

1. So Cold
2. Simple Design
3. Follow
4. Firefly
5. Break My Fall
6. Forget It
7. Sooner Or Later
8. Breakdown
9. Away
10. Believe
11. Rain
12. Hidden Track

Standout Tracks

Following a high-octane, vivacious leadoff track, “Smile In Your Sleep” keeps the tempo up but also offers a better look at the band’s intelligent songwriting and the powerful emotions behind it. For each brooding chorus characterized with Neil Boshart and Josh Bradford’s pensive guitar riffs, Told paints the scene set to Paul Koehler’s composed drumming. But as the tension builds and Told’s distrust grows, each chorus erupts into a dramatic burst of passion and desperation that shows Told renounce the liar he loves. Between the raw angst of the lyrics and its masterful composition, “Smile In Your Sleep” is an instant classic that embodies Discovering The Waterfront as a whole.

Showcasing their lyrical prowess, “Discovering The Waterfront” is without a doubt one of the finest song in Silverstein’s song library. A heartfelt ballad about moving on from heartbreak, this gem is made memorably by Told’s strenuous vocal performance conveying urgent emotion as Billy Hamilton’s contemplative bass fills each relaxing verse. The chorus lets the emotion pour forth as Told cries out, “I won’t forget you , I’m not gonna let you win / But I’m tired of lying, tired of fighting you and it’s not gonna change.”

While not quite as dynamic or emotional as some of Discovering The Waterfront‘s other offerings, “My Heroine” displays a skilled mix of heavier passions and more subtle melodies to create something uniquely engaging. The hardcore influence is feautured prominently here, but each lighter counterpart of clean vocals balances things nicely as a testament to Silverstein’s ability to include post-hardcore concepts without overpowering a song’s catchy nature or the audience.

The Verdict

When Broken Is Easily Fixed was a decent debut for what it was, but Discovering The Waterfront is Silverstein’s masterpiece. The studio production is better, the clean and unclean vocals are more refined and every buzzing guitar hook and heavy drum beat rings out with clarity and sentiment. But the band’s maturity and skill have progressed as well, as prolific songwriting and lyricism enhances the powerful emotions behind the music. Told impresses in his fluctuation between angry growls and endearing cooing, which allows him a broader range in setting the dramatic mood for each song. This raw intensity is expressed both through throaty screams and softer singing, but both are effective in conveying the intended swirl of feelings: desperation, sadness and yet, hope for the future. Fans of Hawthorne Heights, Alesana, Senses Fail, From First To Last, Underoath, Spitalfield, Story Of The Year, A Day To Remember and Stutterfly will be right at home with this instant classic, which is enough to propel Silverstein to the front of the screamo genre. Straddling the border between catchy and hardcore is a delicate tightrope act that is part of the joy of the post-hardcore genre, but Silverstein passes with flying colors with Discovering The Waterfront.

Final Score: 9.1/10

Rank: 2nd (six total albums)

Track List

1. Your Sword Versus My Dagger
2. Smile In Your Sleep
3. The Ides Of March
4. Fist Wrapped In Blood
5. Discovering The Waterfront
6. Defend You
7. My Heroine
8. Always And Never
9. Already Dead
10. Three Hours Back
11. Call It Karma
12. Rodeo Clown

Standout Tracks

The calming guitar riffs of Bobby Anderson open the light and enjoyable “Spinning,” which features a typically catchy Jack’s Mannequin chorus dominated by Jay McMillan’s subtle but attention-grabbing drumming and McMahon’s strained but agreeable vocals. The guitar riffs, upbeat rhythm and pleasing piano in the background make this song however, which manages to leave a lasting impression despite its short length.

As the best song on the album, “Swim” best represents McMahon’s emotional struggle with cancer and his subsequent mental conquering over it. As McMahon encourages his listeners to stay strong and persevere through tough times, it’s hard to ignore the hopeful message coming from someone with plenty of experience who can still play the piano so beautifully. And as McMahon swoons during each synth-riddled chorus, he has the courage to proclaim in the midst of dark and dangerous waters: “I found a tidal wave begging to tear down the dawn / Memories like bullets they fire at me from a gun / A crack in the armor, I swim for brighter days despite the absence of sun / I’m not giving in, I swim.”

“The Resolution” follows up a solid ballad in “Hammers And Strings (A Lullaby)” with a more animated and fun jingle that would have been right at home on Everything In Transit. McMahon’s hope shines through in prominent piano and impassioned chorus vocals, while the guitar riffs and drum beat keep things light for their lead singer to testify. McMahon bears it all on the line as he admits he still has a ways to go, but still has his life and his self to be thankful for: “Yeah I’m alive, but I don’t need a witness to know that I’ve survived / I’m not looking for forgiveness, yeah I just need light, I need light in the dark as I search for the resolution.”

The Verdict

The incredibly open and honest songwriting of McMahon is commendable, especially considering his personal struggles, but they come off as a slight downer for a band that rapidly gained popularity for their happy, easy-going pop punk tunes. The energy and enthusiasm of McMahon is still felt in his passionately strained vocals and fervently affecting piano, but a dark cloud seems to hang over The Glass Passenger, especially for its lackluster second half. From the sloppy, all-over-the-map “Suicide Blonde” to the unenjoyable and undecided tempos of “Bloodshot,” Jack’s Mannequin fails to lift the mood in its second act, or at the very least, keep the audience entertained.  Fans of Something Corporate, The Fray, The Maine, The Academy Is…, The Rocket Summer, Dashboard Confessional and Cartel will likely find plenty to enjoy here, especially for the album’s terrific opening act, but this album won’t be remembered with the same fondness as Everything In Transit.

Final Score: 7.1/10

Rank: 2nd (three total albums)

Track List

1. Crashin
2. Spinning
3. Swim
4. American Love
5. What Gets You Off
6. Suicide Blonde
7. Annie Use Your Telescope
8. Bloodshot
9. Drop Out – The So Unknown
10. Hammers And Strings (A Lullaby)
11. The Resolution
12. Orphans
13. Caves
14. Miss California

Standout Tracks

Like the agreeable and optimistic opener, “I Don’t Need A Soul” follows up with a lighthearted and happy song that somehow manages to sneak in profound sentiment at the same time. The compositional emphasis on piano is clear right from the start as Thiessen provides a suitably pleasant background to lighter guitar riffs from Matt Hoopes and Jon Schneck. Ethan Luck takes advantage of his chance to pound away on the drums, providing the appropriate counterpart to Thiessen’s calmer piano and and vocals. And despite the seemingly anti-Christian lyrics, Thiessen explores the uplifting idea that heartbreak isn’t where life ends, an idea inspired by his time of reflection after he and his fiancee broke up that is evidenced by each catchy chorus: “I don’t need a soul, no I don’t need a soul to hold / Without you I’m still whole, you and life remain beautiful.”

Although Thiessen explores life after loss for much of the album, “Therapy” is by far the most important to Forget And Not Slow Down, as Thiessen accepts the sorrow and pain of heartbreak while simultaneously vowing to not let it keep him down. The piano is once again dominant, but John Warne’s underlying bass hook provides a nice background for more upbeat drumming and light guitar riffs. This buoyant and encouraging track displays the new piano rock style at its best, making it the strongest track of the album.

However, “Sahara” shows that the band hasn’t completely abandoned their punk roots with a livelier and heavier track that features a guest verse from Aaron Gillespie, who brings some extra fervor to an already fast-paced song. The buzzing central guitar riff steals the spotlight, but the quick tempo adds variety and energy to a mostly mellow album.

The Verdict

Progression in the music industry is a delicate balance of exploring new sounds while still retaining one’s trademark sound. With Forget And Not Slow Down, Relient K has done just that, but in this case, artistic progression doesn’t necessarily result in a better album. Because as enjoyable as the new, soft piano rock sound is, it doesn’t quite measure up to the pure energy and fun of the band’s older pop punk style. With upbeat and catchy albums like Mmhmm and Two Lefts Don’t Make A Right…But Three Do in their arsenal, it’s hard for a more mature and serious effort to replace these entries that hold such a special place in fans’ hearts. Fans of Switchfoot, Jack’s Mannequin, House Of Heroes, Hawk Nelson, Stellar Kart, Sanctus Real and FM Static will enjoy this new dose of Relient K, but don’t expect anything too groundbreaking.

Final Score: 7.8/10

Rank:  4th (six total albums)

Track List

1. Forget And Not Slow Down
2. I Don’t Need A Soul
3. Candlelight
4. Flare
5. Part Of It
6. Outro
7. Therapy
8. Over It
9. Sahara
10. Oasis
11. Savannah
12. Baby
13. If You Believe Me
14. This Is The End
15. (If You Want It)