Sometimes it works, other times it just sounds bitter and gratuitous. [Jul 2013, p.96]

The entire album's honeycombed with intriguing tones and gauzy grace, but the songs' elliptical shapes demand patience. The reward comes in installments, but is high yield. [Jul 2013, p.106]

Kveikur is a masterstroke effort. [Jul 2013, p.104]

There are traces of the Locust, the other band of vocalist Justin Pearson, but these 12 songs are darker and more dangerous. [Jun 2013, p.98]

Everything that has made Boysetsfire an essential hardcore band since they formed in the mid-’90s fits into the right spots on this new album.

Though fast and dynamic, it's just not exciting in the way it should be, and it's impossible to shake the feeling that something is missing. [Jul 2013, p.96]

Thankfully, Damage easily bests the previous two Jimmy Eat World full-lengths, and its high points rival those of Futures and Bleed American.

By smoothing out the rough edges, the guys found new ways to bleed. [Jul 2013, p.104]

The Brazilian party inciters still diversify deftly on their fourth full-length, Planta. [Jul 2013, p.100]

Settle is a rare animal: an EDM album that actually flows like an album should. Listening to it, there's a feeling that as much thought went into the track sequencing as went into the sequenced rhythms.

It's as beautifully patient and thoughtful as anything else in Dallas green's expanding catalog, while carrying the same sort of modest insecurity and self-doubt that's made the project so warm and personable. [Jul 2013, p.98]

The quartet gets a little glammy, turn in a fist pumping epic, and achieve Beatles-esque flights of fancy. [Jul 2013, p.104]

The band's skill with their classic source material remains intact: the chord progressions, melodies and arrangements are familiar, but rarely boring or overtly derivative. [May 2013, p.90]

It’s fast; it’s honest, and it’ll probably make you tear up more than once.

Surrendering to its strange charms could be one of the smartest decisions you make this year. [Jul 2013, p.106]

All told, this is hardly a bad addition to Eisley's burgeoning catalog—their development is obvious, and there are enough quality songs present to improve that theoretical "greatest hits" collection for their live show.

There's nothing here as flat-out beautiful as "Tired Climb" from 2010's Spiral Shadow, but Ultraviolet is both expansive and rockin' in equal measure. [Jun 2013, p.96]

The best Shannon And The Clams record to date. [Jun 2013, p.98]

With shorter songs and more restrained production it lacks the epic quality of its predecessor, and overall it is weaker for it.

For all of its charms, One Kiss Ends It All sounds a bit sdhaky and unfocused. [Jun 2013, p.98]

The despair in the vocals complements the weight of the music, with just enough melodic hookiness in places (especially “Outside Of Me,” “Sheltered” and “Knew”) to keep you engaged, balanced with some truly epic tangents (see closer “Around The Railing”).

Ungrateful comes off as cluttered and confused. [Jun 2013, p.92]

On One of Us Is the Killer, everybody is firing on all cylinders and DEP sound just as urgent as ever. [Jun 2013, p.94]

With vocals creeping into the closer "Happiness," not once does Cooper put a foot wrong, creating an album that borders on perfection. [Jun 2013, p.96]

On the whole, these are fast paced, highly-charged ska-punk songs, but they’re riddled with musical flourishes and nuances–not to mention impossibly catchy hooks.

Broadway calls wield a melodic, snotty jubilance that recalls Nimrod-era Green Day--filling an oddly vacant niche for present-day pop-punk. [Mar 2013, p.88]

Nearly everything that made Fitz And The Tantrums interesting has been thrown out the window for More Than A Dream. Fitzpatrick has run out of anything interesting to say, instead relying on awful cliches. [Jun 2013, p.96]

This is Terror at their very best. [May 2013, p.92]