In the end, Modern Vampires just seems to fade into a dull glow that will still be overshadowed by the band's explosive self-titled debut. [Jun 2013, p.102]

The second half of the album loses momentum due to the overly long, soggy pop of "Crescendo" and "Strangers," although Nocturnes recovers nicely on the flawless synth-pop jam "All For You," where Hesketh shows off her dramatic, emotive vocals. [Jun 2013, p.98

"Piano Mantra" is ambitious, but he pulls it all off in an epic way--which could be said for MCII as a whole. [Jun 2013, p.92]

Young New England may not define Transit, as it's wildly uneven and sometimes oddly raw, but there's enough good here--the missteps, you'll listen and forgive. [May 2013, p.91]

Sister Faith is rich with engaging depth and an inventive accessibility that should put the band on the radar of independent music lovers everywhere. [May 2013, p.88]

Tears On Tape doesn't reinvent the wheel, but within HIM's impressive canon, it's among their best. [May 2013, p.90]

For some reason, the Stooges decided to get moody on a trio of acoustic-based tracks, letting their singer respond by going into full on crooner mode. That sort of twaddle may fly on Pop's solo records, but when they go up against the slinky, deep pocket grooves of the rest of the album, the songs feel pale and hollow.

Lovely and heartfelt, Wheel is an introspective delight. [May 2013m, p.90]

Thr!!!er is a party for sure, but you';; never really feel it unless you and 200 of your best friends are listening to it in an airplane hanger at 110 db. [May 2013, p.84]

The Postelles flash moments of this talent, but often come off as a pedestrian version of a banal sound.

For anyone who misses the era when Tegan And Sara were still crafting fizzy, folky breakup--and makeup--songs, Say What You Mean is the perfect remedy. [May 2013, p.92]

It might not be the same band as in 1998, but this graceful, elegant record is more than deserving of a place in their discography.

At its core, Tape Deck Heart is the kind of record we've all always wanted Frank Turner to make. [May 2013, p.83]

Their best album to date. [Apr 2013, p.85]

TSSF have created an album that will help young listeners navigate the murky waters of growing up. As for the older listeners? Just appreciate the fact that a band this young are able to write an album this thoughtful and passionate.

What ultimately matters is how vital they’ve managed to sound coming off of a break while pushing the experimental envelope in ways that go beyond a guest appearance by Kool Keith as Dr. Octagon.

It's an alluring listen. [May 2013, p.88]

Thermals don't aim to shock. They don't aim to please, either, and their dynamic punk spirit is as smart and infectious as when they began in 2002. [May 2013, p.92]

There’s enough inventive, Jamaican-inspired music on Free The Universe to make it worth hearing--but here’s hoping Diplo keeps things Kingston-centric again next time around.

At times lushly orchestral and at others achingly stark, Migrant is the masterfully actualized first chapter in the true story of the Dear Hunter--the band. [May 2013, p.88]

Admittedly, it takes a few listens for Save Rock And Roll to click, and some songs (“Alone Together,” “Miss Missing You”) are notably weaker than others. But overall, Save Rock And Roll is a blast of an album.

Though their sometimes generic juddering occasionally dulls the impact, it's still clear the Color Morale are trying to be more than just "another one of those bands." [Apr 2013, p.88]

A sprawling, 17-song, 64-minute monster that is without a doubt the finest music these three artists--vocalist Hayley Williams, guitarist Taylor York and bassist Jeremy Davis--have ever made.

Disarm the Descent sees the Massachusetts quintet reinvigorated, leaving 2009's Killswitch Engage in their wake. [May 2013, p.86]

My Shame Is True winds up feeling like white noise more than anything else. [May 2013, p.84]

It's a solid album in an impressive and varied discography. [May 2013, p.90]

Sykes’ increased vocal range also proves a formidable addition to their arsenal, coalescing with the expanded sonic palette for a more intimate, cohesive and engaging collection.

After the wet noodle that was 2011's Mine Is Yours, California indie purveyors Cold War Kids come back al dente on Dear Miss Lonelyhearts. [May 2013, p.84]