The Ghost Inside are one of hardcore's brightest lights, and Get What You Give is a perfect example of heavy music with a high IQ.

They hold their own with the noisy, angular and often bluesy rock found on Harmonic. [Jun 2012, p.82]

AFI bassist Hunter Burgan and My Chemical Romance touring drummer Jarrod Alexander lend their talent making for a textured record that combines Skiba's trademark dark-tiged punk sensibilities with an electronic edge inspired by '80s new wave. [Jun 2012, p.83]

Being lacks enough urgency to sustain nearly 38 full-throttle minutes and becomes an analogy for the unvarying capitalization on its record sleeve.

Despite some missteps, Icky Blossoms would fit on a playlist between Archie Bronson Outfit and Bloc Party. [Aug 2012, p.90]

The songs themselves are sturdy and powerful, with the right mix of ebb and flow, and ample chug-chug parts for the pit monkeys.

Ten Stories should easily please any mewithoutYou fan, but this is by no means pandering....11 musically and lyrically engaging stories. [Jun 2012]

It's a snarling, agile beast with some posi moments along the way. [Aug 2012, p.90]

Carter and Ansell aren't reinventing the wheel, but they've got a way nicer ride than most of the pretenders currently being exalted by friendless bloggers. [Aug 2012, p.84]

Gossamer is still full of incredibly catchy choruses, dozens of layers of funky instrumental tracks, spazzy electronic flourishes and of course Michael Angelakos' sky-scraping falsetto. [Aug 2012, p.88]

While Everything You Ever Loved feels a shade top-heavy, there's little denying how much Make Do And Men have improved their craft over the years. [Jul 2012, p.96]

Most songs keep to a more humble pace, unfurling slowly and often with surprising beauty. [Aug 2012, p.86]

Hypnotic Nights has the feeling of an album created by Venn diagram, with the outer edges of glam, psychedelia, garage rock and hard rock connecting to create "the ultimate rock album…you know, for kids!"

Thanks to the expert production of Brendan O'Brien, the record sounds goddamn phenomenal. [Aug 2012, p.83]

Harakiri easily contains the best music released under the vocalist's name. [Aug 2012, p.92]

This music has aged well, and nearly transcends nostalgia.

Back with album No. 2, Beak> feel more purposeful somehow.

An adventurous, forward-thinking collection.

Lacing together 15 tracks this tight is nothing short of a rap lifetime accomplishment. [Aug 2012, p.84]

Unsound falters on ragged tune such as "Sectionals In Mourning" and "Semi-Pseudo-Sort-Of-Plan;" these songs feel far too much like half-finished rehearsal takes that could use some tightening. [Aug 2012, p.92]

The arrangements are busier, but Morgan's the key to holding it together. [Aug 2012, p.90]

These are some of the most challenging songs in the band's catalog, yet they're more approachable than ever before. [Aug 2012, p.88]

Heady Fwends has racked up about one song's worth of decent material-only none of it is in the same song.

In the case of the Used's fifth proper LP, the exact opposite could be said--we hear too many singles. Or would-be singles, that is. [Apr 2012, p.89]

Like all the most memorable famous monsters, this beast has a soul. [Jul 2012, p.94]

The majority of the album sounds like generic radio rock. [Jul 2012, p.98]

Daybreaker is their best yet. [Jul 2012, p.90]

Its peaks make Whitechapel the band's best album yet by a wide margin. [Jul 2012, p.98]