[Rave Tapes is] some of the prettiest work they've recorded. [Feb 2014, p.92]

Warpaint were more consistent before this, but as a comparative misstep, Warpaint still yields an enjoyable, haunting outpouring of whispered emotional damage and spatial exploration. [Feb 2014, p.94]

Wig Out is full of so much life and melody that it stands as a refreshing alternative to the increasingly homogenous state of indie rock. [Feb 2014, p.91]

Transgender Dysphoria Blues definitely isn’t perfect, but its high points are high enough that even a fuckface like yours truly can’t ignore its flashes of brilliance.

There are little surprises on Wishful Thinking, but with that comes little letdown.

Its cleaner, more ferocious tone does this batch of songs well, pushing them back closer to their genius Nitro Records days.

It's stylish, poppy and striking from songwriting to production. [Jul 2013, p.100]

The warm spirit that emanates from this loving tribute should be more than enough to keep you cozy through the cold months ahead.

It's wonderful stuff, partly because Shearwater's renditions are lovely enough to make you want to seek out the real things, and partly because, really, does anyone need another bloody cover? [Dec 2013, p.100]

There’s no question Common Courtesy will at least partially satisfy eager fans, because if nothing else, it’s a textbook A Day To Remember record. Whether or not that’s good or bad is entirely up to you.

They're sometimes lost attempting to balance clumsy choruses with fleet fingered flash. At other moments, however they absolutely nail it. [Nov 2013, p.84]

Back To Land whispers intimately and hauntingly of both paranoia and peace. [Dec 2013, p.102]

Tres Cabrones pummels you with no-frills sludgy goodness like "City Dump" and "Stump Farmer," uncomplicated and uncompromising metal.

Skeletonwitch are in the metalhead-pleasing business, and the classicist genre fusion of Serpents Unleashed more than does the job. [Nov 2013, p.92]

Cut Copy may not hit the same cloud-bursting heights as a masterpiece like Primal Scream's Screamadelica did, but their attempt still provides devilish delights. [Dec 2013, p.94]

In the end, Antiphon feels like it should be enjoyed in one piece, preferably wearing headphones. [Dec 2013, p.98]

This EP might be a surprise to some, but it is in keeping with the puckish spirit that has underpinned the quintet's nearly 35 years together.

While The Finer Things may be fashionably late for this summer, it’ll sure as hell hold you over to the next one.

Though they change direction with almost every track, Doomriders maintain an ominous and almost sleazy air throughout, and by the time it's done you just might feel like you need a shower. [Nov 2013, p.88]

Dave Hause is a self-proclaimed "rock guy," and he has carefully crafted Devour to remind you of such. [Nov 2013, p.86]

It is a more assured and catchier effort and showcases far better songwriting [than its 2011 debut], and though the quality wavers on a few tracks, overall it justifies those who passed on them before taking another look.

It's no Witness, sure, but it's an immensely strong return that shows how viable the band's style and songwriting still are. [Nov 2013, p.88]

Get There is gorgeous, perfect pop. [Nov 2013, p.90]

[Whales And Leeches up its game] by being bigger, bolder, heavier, catchier and even more savagely fun.

With Burials, AFI are going larger than life to get back into the small of their fans’ hearts.

Lyrically introspective, musically tight and vocally resolute, Fade Away is Best Coast’s best work to date.

The record’s high peak, “Upstate Blues,” displays more Kinsella influence (this time Owls) in its jazzy bursts. But the clever wordplay is all Weiss.

A solid spin. [Sep 2013, p.84]