Tori Amos fans will be thrilled, but those hoping to continue on a hard-rock bender will be left puzzled. [May 2015, p.100]

Frontman Colin Newman's pointed lyrics can be gloriously dry and the measured melodies of the songs are fine. [May 2015, p.102]

These offerings feel uncharacteristically flat. [Apr 3015, p.92]

This could-be landmark is dragged down a few notches by a grating singer. [Apr 2015, p.90]

An admirable effort, yet this feels like Gang Of Four taking six steps backwards into obscurity. [Mar 2015, p.93]

If the album has a flaw, it's a lack of structure and differentiation; as the music progresses, songs become less distinct and less compelling. [Mar 2015, p.90]

The result is a record that is frequently too busy. [Feb 2015, p.90]

The good: Tyler Carter and Luke Holland's performance one-ups YouTube tryhards on Paramore's "Ain't No fun"; Set It Off are naturals at this whole "pop" thing, nailing Adriana Grande's "Problem".... The bad: August Burns Red's cover of Miley Cyrus' "Wrecking Ball" tries to make a pp song pissed--it's dated on arrival.... The just plain ridiculous: Upon A Burning Body ft. Ice T covering "Turn Down For What?" [Dec 2014, p.107]

There are hints of something fresh on There's Nothing Wrong With Me. [Dec 2014, p.106]

There’s passion cooked into each Antemasque song, but it is curiously unmoving.

Certain segments remain faithful to the original material while others are unrecognizable through veils of sawing bass, guitar clank, expansive percussion marches and a gang of 50-year-old dudes reliving their adolescence through music and busted guts. [Dec 2014, p.107]

There's a foundation for true duality somewhere, but a lot of growing pains as well. [Nov 2014, p.94]

As eleventh albums go, Siren Charms is a more than respectable collection. [Oct 2014, p.98]

It's rad that Finch are back together sounding sharp, but the creative differences that led to this album being nearly a decade in the making remain apparent. [Oct 2014, p.100]

When they stick to the ’60s Cali Pop of the uplifting “We Are Done” and dreamy “California Rain,” they produce some remarkably winning songs worthy of van-loads of bearded, guitar-toting indie popsters aping the Beach Boys and the Mommas And The Papas. When they miss, though, it’s more unbearable than rush hour traffic on the 405.

It means "Everything You Think You Know," "Smoking Kills," and "Day Man," while not bad, do feel slightly generic, which unfortunately diminishes the power of these well-intentioned, heart pounding songs. [Oct 2014, p.98]

The results of this experiment is decidedly mixed. [Oct 2014, p.101]

While their weird is very often wonderful, these 10 tracks are somewhat inconsistent. [Oct 2014, p.98]

The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

There are good cop/bad cop phrasing, well-placed electronic glitches and enough predictable, djent-ish riffing to keep the pit going. [Sep 2014, p.104]

What Worlds never does is cohere in any appreciable way, stomping all over its finer moments with another synth glitterbomb and burdensome bass drop. [Sep 2014, p.107]

Call it growing pains for a storied discography, but the result leaves the album feeling unbalanced around the gems and less rewarding over multiple listens. [Sep 2014, p.110]

It won’t satisfy the appetite of fans of the band that are salivating over the thought of a brand new album with Lindberg’s patented shout-sing back and leading the charge. But as a stopgap and look back at the band’s early years, Yesterdays is a rowdy Pennywise romp.

Rather than try and move these songs into new territory, everyone involved seem hellbent on remaking Lewis into something closer to Sheryl Crow or Shania Twain. It’s a weird place for her to be in, yet one that she looks to be acclimating to quite easily.

The tunes are instantly likeable.... What's missing are the immediate hooks that today's competitors from Katy Perry to Marina And The Diamonds, use to claim Madonna's now-vacant throne. [Jul 2014, p.98]

World Peace is a frustrating experience, moving too quickly between temperaments and overstaying its welcome by a good 20 minutes.

While dissonant noise is the main component of the duo's slacker shoegaze, hidden beneath those layers of distortion are some moments of melody. [Jul 2014, p.102]

Cheap Girls’ songs blur together--hell, so do their albums--but it’s something to take a deeper look at.