On {^Lights and Sounds}, {$Yellowcard} sounds light years away from its {^One for the Kids}/{^Where We Stand} days. Granted, the band still trades in the immediate melodies and heart-on-sleeve lyrics that they've used since the beginning, but major-label success suits them well. {^Lights and Sounds} is even slicker and more polished than their {@Capitol} debut, {^Ocean Avenue}, but {$Yellowcard} ends up sounding self-assured instead of compromised in its big-budget surroundings. {&"Ocean Avenue"} was a genuine breakthrough single that proved that the band had a way with connecting with listeners outside of its expected fan base; on this album, {$Yellowcard} expands on its expected sound. Songs like the title track, {&"Rough Landing, Holly,"} and {&"Down on My Head"} are tightly crafted, state-of-the-art examples of shiny, earnest {\punk}-{\pop} that sounds sunny even when it's sad, but {&"Two Weeks from Twenty"} boasts downright jazzy guitars and whimsical lyrics reminiscent of {$Ben Folds}, while {&"City of Devils"} is a moody power {\ballad} that continues the album's surprisingly grown-up feel. Indeed, {\ballads} make up a big part of {^Lights and Sounds}, making the most of {$Sean Mackin}'s skills with string arrangements, particularly on {&"Waiting Game"} and {&"Space Travel,"} where the strings have just the right amount of melodrama for songs about young heartache. However, {^Lights and Sounds} occasionally goes from expansive to indulgent, particularly toward the end of the album, which is bogged down with too many mopey, samey-sounding songs that are overpowered by big productions and arrangements. {$Yellowcard}'s ambitions to expand and emote are admirable, but their tighter, poppier songs still work the best. Regardless, {^Lights and Sounds}' good songs are very good, and the album ends up being the band's most accomplished work yet. ~ Heather Phares, All Music Guide