Where the band struggle is writing memorable tunes. [May 2014, p.91]

Flies In All directions is a pleasing, grand buffet for Weatherbox fans. [Jun 2014, p.108]

With Our Endless War, the band have shown they have more than enough skills, and they finally have enough ideas; it's time for them to take the plunge, break through deathcore's confines, and become the band they could be.

These six songs are louder, faster and heavier than the first EP. [Jun 2014, p.105]

While often only feeling like baby steps forward from Cokefloat!, YCF's determined traces of progress makes it a very worthy successor. [Jun 2014, p.110]

With repeated exposure it becomes clear that these songs belong together, adding an extra dimension to the record, and those who to succumb to its charms could ask for nothing more.

Had these songs been released a decade ago, they'd be a sensation. Today? Nah. [Jun 2014, p.105]

Everyday issues like self-doubt and frustration weave their way through Christmas Island, but the album's prominent theme is also it's darkest: the death of Bonnette's grandfather [Jun 2014, p.107]

Creative Adult live up to their name well enough on this full-length debut, but they sound truly realized and focused by Psychic Mess' finale, with the band sorting out confused emotions per the title but landing musically right on point.

Luminous certainly wears its influences proudly; however, the record boasts undeniable energy and urgency. [Jun 2014, p.107]

The result is another unique and captivating record, one that melds dancehall reggae, hip-hop, Haitian percussion and a dozen other styles as if they were always meant to be together. [Jun 2014, p.111]

The album doesn’t work for all moods or times of day. It’s a dusk-to-dawn kind of collection that emanates a lovely, flickering fire-like glow from within.

The disc is at least 20 minutes too long, with Slug coming off like he's simply recycling the same lyrical ideas in the last third of the album. [Jun 2014, p.104]

Producer Dave Bottrill has molded Chiodos’ vision into a cohesive arc of power, finesse, quirks and accessibility in equal measures.

Though the songs are certainly longer than on Floor, Oblation actually harnesses greater energy than its self-titled predecessor. It's also tighter, its melodies more confident and stable than Floor, while buzzing along with their familiar, sludgy foundation, Sleep-y, Sunn O)))-y tone and all.

Andy Stack's accompaniments are dynamic, elusive and overflowing with heart. [May 2014, p.94]

While several songs do need an editor--"Dressed In Dreams" in particular drags quite a bit--the record's honesty and vulnerability are inspiring.

The album’s 10 songs are over and done in under 20 minutes. The impression they leave at the end of it all is huge.

There’s something un-Pixielike about that tentativeness, yes, but surely this group, and these fine if uncharacteristic songs, should have the chance to re-enter pop life on their own older, wiser terms.

A slick, synthed-up, unabashed party. [May 2014, p.92]

The Menzies score big about half the time. [May 2014, p.93]

The album is a success because it shows sophistication and growth. [Apr 2014, p.94]

Their stripped-back and organic-sounding punkish indie rock recalls early Jimmy Eat World, Texas Is The Reason, the Appleseed Cast, Penfold and the Weakerthans, and this album sees them stand toe to toe with any one of those bands, which is admirable to say the least.

The entire thing is a cathartic art project that feels like the moment of forced calm after an exhausting sob. [Feb 2014, p.92]

The repurposed bits remain inspired, while Sugarhill Gang-style raping, sampled DJ interludes and duck jokes keep things refreshingly light. [May 2014, p.90]

A brilliantly sorrowful effort: for isolated immersion only. [Apr 2014, p.92]

There’s so much depth to absorb here, yet it’s also instantly rewarding, and it happens time and again on Oh, Common Life; as adventurous as the album is, there’s nary a misstep to be found.

On their 13th studio effort, the Skull Defekts have evolved into an actual rock band. [May 2014, p.94]