PUP is 10 songs of irreverent party jams for buds and their gals and their bros.

This is no-frills, passionate hardcore with a purpose. [May 2014, p.93]

Comparatively [from debut Celebrasion], About Last Night is significantly polished; the sound is brighter, and Kandel’s vocals have become smoother and more refined

This isn’t a record to slap on for kicks or to challenge the bass response of your car stereo; this is the album that makes you want to scowl under gray skies as you slog to your day job.

Though it unfortunately eschews the dynamic emotive crests and space of past efforts in favor of MO's intensely urgent intent, its results make it a completely worthy addition to an already strong alt-rock catalog. [May 2014, p.89]

Not everything hits the mark, but there's enough to delight in and offer plenty of hope for the Chiefs' future. [May 2014, p.93]

Here And Nowhere Else is Cloud Nothings' best effort yet--and that's saying something. [May 2014, p.90]

The band seem determined to be the molten missing link between Black Sabbath and Black Mountain, making Himalayan a towering triumph. [May 2014, p.88]

Few records this year will be able to compete with the heart or hooks of this one. [Apr 2014, p.89]

This is a knuckle-walking, face-punching, tooth-spitting hardcore/metal album that’ll have you looking around for things and people that could use a good kicking.

This is the future of metalcore. [Mar 2014, p.88]

Having dabbled with atmospheric black-metal elements in the past, this time out Carnifex incorporates these with more confidence while never compromising their ruthless deathcore principals. [Apr 2014, p.89]

There aren't many stronger Americans albums than Till Midnight. [Apr 2014, p.93]

At their best, the churning rhythms, swirling synth and vocals suggest Animal Collective digging through a crate of DFA Records. [Mar 2014, p.94]

The In Crowd haven't reinvented the wheel, but they've certainly made getting hit by it a little harder to dismiss. [Feb 2014, p.91]

Force Field makes good on being more than just a referential record. [Apr 2014, p.93]

The most inventive and sly pop you're likely to hear in 2014. [Apr 2014, p.90]

The Pretty Reckless seems to have tried too hard to come across as outrageous. It's got every contrived reference possible along with clips of brainwashing television sermons and sound bites recreated from cheap porn. [Apr 2014, p.93]

It’s incredible just how good Dreyer is at making you connect with his characters, and how equally good his band are at backing him up.

Hold this band close to your temporal lobe.

Their best album since BAGIA, possibly longer. [Apr 2014, p.92]

It’s a good record, to be sure, but that’s to be expected by TBS at this point: These guys are professional musicians who have sold a few million records and toured the world countless times over. Unfortunately, a “good” record just isn’t good enough anymore.

The honest emotion, varying dynamics and avoidance of cliche up the record's potency, leaving you with the sense that this is how metalcore should make you feel. [Apr 2014, p.89]

Umpteen attempts at serious lyrics topple this album right off the runway. [Apr 2014, p.91]

The band may have taken their time, but the finished product more than justifies the wait. [Mar 2014, p.89]

It’s just the right balance of heavy and light tones, a mixture that Barnett & Co. continue to perfect throughout the whole album.

It's an arc of moods and musicianship, ranging from dynamic tension, inspired cinematic tension and moments of textured finesse. [Apr 2014, p.94]

With some pop, college rock, post-punk and even shoegaze thrown in for good measure, TV en Français is the most complete We Are Scientists record. [Apr 2014, p.94]