Blink-182 finally stop sounding like a band figuring it out and start sounding like the band everyone copied afterward, this is wall-to-wall catchy, stupid, energetic pop-punk perfection, and I genuinely don't care that it's not "deep" because these songs rip.

Best: Enthused, Dammit, Josie, Apple Shampoo
Worst: Voyeur, I'm Sorry

This is 80 minutes of aggressively sincere musical theater telling you to stop being embarrassed about the things you love, and honestly if you're still calling people cringe in 2026 this soundtrack probably has better character development than you do.

Best: Other Friends, Drift Away, Independent Together, Found
Worst: The Tale of Steven (fine, but somebody had to finish last)
Favorite Detail: The recurring instrumental motifs by Aivi Tran and Steven Velema are absurdly good at carrying ... read more

This trades some of Commit This to Memory's raw chaos for pure sugar-rush power-pop, and while the first couple tracks occasionally sound like a Nickelodeon theme song, the album quickly turns into a nonstop barrage of gorgeous melodies, painfully sincere lyrics, and some of the most emotionally satisfying songs Motion City Soundtrack ever wrote.

Best: Point of Extinction, Last Night, The Conversation, Can't Finish What You Started, Hello Helicopter, Even If It Kills Me
Worst: Where ... read more

Country music is somehow worse now than it's ever been, and this song feels like Exhibit A in the prosecution's case.

I felt like I was listening to an impeccably produced, surprisingly fun karaoke night in the Osbournes' basement where everyone plays well and Jerry Cantrell's appearances are cool, but Ozzy only sounds fully invested on about half the songs and I'd never really recommend this over the originals.

Best: Working Class Hero, 21st Century Schizoid Man
Worst: Woman, All the Young Dudes

Troye Sivan somehow turned 32 minutes of horny, groovy, synth-soaked pop into one of the most effortlessly fun and cohesive albums of the decade, with killer production, a great vocal performance, and not a second wasted.

Best: Rush, One of Your Girls, What's the Time Where You Are?, Can't Go Back, Silly
Worst: None worth calling out, this thing is too short and consistent to have a real dud.

I tried to convince myself there was some misunderstood genius here, but this is mostly a bloated, pretentious slog that forgets to write actual songs, bad, hope this helps.

Best: Waiting for the End, The Catalyst
Worst: Jornada del Muerto, Empty Spaces, Wisdom, Justice, and Love, Fallout

I came in hoping for more, but this is still a pretty enjoyable batch of solid pop-punk tunes that doesn't reinvent the wheel, yet nails the genre's catchy, youthful energy well enough to keep me coming back.

Best: The Best of Me, Leaving, Up & Go
Worst: Cheek to Cheek, Hello Houston

22 years of "Pikachu erected out your butt" and this still rules; it's pure 2000s easycore/pop-punk cringe with mostly bangers, the band sounds way heavier and groovier than before, and while some songs are absolute gifts to mankind, some of the more hardcore-leaning cuts and the occasional snoozer keep it from reaching the top tier.

Best: All Downhill From Here, At Least I'm Known for Something, Catalyst
Worst: No News Is Good News, Ending in Tragedy

I came for From Under the Cork Tree and stayed for the realization that this is one of the best emo-pop-punk debuts ever, raw, messy, dramatic as hell, front-loaded with an absurd run of bangers, and powered by a 19-year-old Patrick Stump singing like his life depends on it, even if some of the writing shows its age.

Best: Grand Theft Autumn / Where Is Your Boy, Saturday, Chicago Is So Two Years Ago, The Calm Before the Storm, The Patron Saint of Liars and Fakes
Worst: Sending Postcards from a ... read more

The mixing sounds like it was recorded through a sock and half these songs blur into the same interchangeable early-2000s pop-punk mush, but Flavor of the Weak and especially Wall of Sound have enough charm to make this otherwise mediocre album a surprisingly decent time.

I still have a soft spot for this, but outside of a few genuinely great songs it's mostly a fun, formulaic pop-punk record that never quite reaches the level its potential suggests.

Best: She's the Blade, Memory
Worst: The deeper cuts tend to blur together a bit once the highlights are over.

This album is corny, stupid, lyrically awful, and about as subtle as a brick to the face, but the hooks are so ridiculously addictive and the charm is so genuine that I keep coming back anyway, early-2000s pop-punk junk food that somehow still slaps.

Best: I'd Do Anything, I'm Just a Kid, The Worst Day Ever, You Don't Mean Anything, Perfect
Worst: Addicted, God Must Hate Me

As a Linkin Park fan I had a good time with Road to Revolution, but compared to their other live releases it feels more like a solid souvenir than a must-hear showcase of how great they were on stage.

Best: One Step Closer, Bleed It Out, Given Up
Worst tracks: None are outright bad, but the album itself feels less essential than the songs on it.

Thunderstruck and the title track absolutely rip, but the rest of this is mostly the same AC/DC formula I've heard a hundred times before, fun for a few songs, then it starts to feel like one long, loud déjà vu, and those vocals definitely don't help.

Best: Thunderstruck, The Razors Edge
Worst: Most of the album after the first few highlights kind of blends together.

I don't regret hearing this, but it mostly feels like a competent Ozzy live album that reminds me there are plenty of better live recordings from his wilder, more energetic years.

Best: Bark at the Moon, Crazy Train, Mr. Crowley
Worst: Gets Me Through, No More Tears (good song, but this version doesn't hit as hard as it should)

This sounds like Ozzy Osbourne accidentally turning himself into a really good mid-day Ozzfest band, and while it's less aggressive than the classics, the huge riffs, catchy hooks, and underrated gems make this one way better than its reputation suggests.

Best: Dreamer, Gets Me Through, Facing Hell
Worst: Running Out of Time (still fine, something had to finish last)

I genuinely fell asleep to this album twice, which says everything about how Ozzy somehow turned the only record with Geezer Butler into overproduced, radio-polished boredom where Zakk Wylde's solos and a couple decent songs desperately try to keep me conscious.

Best: Perry Mason, Thunder Underground, My Jekyll Doesn't Hide, Tomorrow
Worst: My Little Man, Ghost Behind My Eyes, See You on the Other Side

Even if this isn't a necessary live album, I still had a good time with it because Ozzy sounds energized, the band rips through the classics with plenty of power, and while it doesn't really add much to the original songs, it's a fun, loud snapshot of an era that does exactly what it's supposed to do.

Best: War Pigs, Mama, I'm Coming Home, Crazy Train
Worst: Nothing terrible, but a few performances feel more routine than revelatory.

Incredibly Ozzy: this is basically a greatest hits album disguised as a studio record, packed with rock and metal classics and some killer Zakk Wylde guitar work, even if the slick production sounds a few years older than its 1991 release date.

Best: No More Tears, Mama, I'm Coming Home, Road to Nowhere
Worst: the production calendar is stuck in 1986.