Beyond weird? Yes, but in the best, most deliciously mind-bending of ways. [Oct 2013, p.88]

This is a band in complete control of ts creative vision, and the result is a sharp, confident album. [Oct 2013, p.88]

Exposing her honest and disarmed self more than ever, Neko proceeds to open old wounds.

The music, more polished and synthetic than ever, is fine.... But too much of this album comes off like self-parody. [Oct 2013, p.92]

Now more than ever, Hanna's voice and music resonate and inspire. [Oct 2013, p.88]

They’re successfully anthemic on “She Way Out,” like a nerdy, English version of the Gaslight Anthem. But when they try on modern, digitally glitchy production on “Menswear,” by contrast, it feels (ironically, given the track’s title) like they’re struggling in ill-fitting clothes.

Man Man are still digging around in a diverse bag of influences. Fortunately, they keep pulling out winners. [Sep 2013, p.90]

"Do I Wanna Know?" and "R U Mine?" are a couple of satisfying stomps anchoring this collection of gold-tinted kiss-offs. [Oct 2013, p.82]

Too much of this collection tries to get by merely on Allan's mumble-to-a-scream vocals and a smothering wall of reverb, leaving the instrumentation dull and the tunes indistinct. [Oct 2013, p.86]

Often dark, but strangely triumphant. [Oct 2013, p.92]

At times, Iwrestledabearonce could almost pass for In This Moment. Whether that's a compliment or not is your call. [Sep 2013, p.90]

It's songs seem somewhat aimless at times, but Repave is worth the journey for its riving consistency and moments of hook-laden greatness. [Oct 2013, p.94]

It’s a big, shiny, shamelessly indulgent affair played by talented musicians, and when it comes down to it, it’s just a lot of fun.

Hesitation Marks, the new album from Nine Inch Nails, is both business as usual and remarkably prescient.

The lullaby-like "Death" feels too on-the-nose, but it doesn't detract much from Carrier's bittersweet power: an atmosphere of loss, contemplation and return. [Sep 2013, p.88]

They are definitely good enough to keep fans of modern heavy music pleased with the genre's continued vitality. [Aug 2013, p.83]

From Death To Destiny also features a better Avenged Sevenfold song than that band's ever written in "White Line Fever," and some genuinely affecting strings on “Run Free.” Even if Worsnop refuses to grow up, his bandmates seem to be trying.

Their latest full-length occasionally veers into darker territory than usual, but for the most part it sticks to what the band do best. [Sep 2013, p.94]

It's ain't perfect, with some primitive playing popping up at inopportune times. But if you're after a soundtrack for these late summer months, look no further than Lost Control. [Sep 2013, p.88]

[In Kind undermines the mood of the entire album with a series of acrobatic vocal yelps.] It's a shame, because otherwise this is a record of near-perfect beauty. [Sep 2013, p.88]

The Icarus Line’s sixth album is scarred, clandestine and alluring, much like meeting a stranger who has the capabilities to turn you on--or turn you off, dead.

Segall's laconic vocals and playing style ties everything together and maintains a blunted brilliance throughout. [Sep 2013, p.92]

Their fourth album, Right Thoughts, Right Words, Right Action is just as resolute as the title. [Sep 2013, p.88]

An Object is another great volume in the experimental duo's catalog that feels more colossal than their comparatively small eight years together. [Sep 2013, p.90]

The Nextwave Sessions lacks the pure aggression of Four’s best moments, but that’s not a slight; this release just showcases yet another side of the U.K.’s most interesting post-punk band.

A tastefully echo-bathed, psychocandy-flavored production job by the Raveonetts' Sune Rose Wagner, and you've got a soaring and psychedelic dream-pop stunner that will leave you wondering how being bummed can feel so inanely good. [Sep 2013, p.88]

There’s a lot to appreciate, whether you like screamo, face-punching hardcore, pop-punk, or some combination of all those sounds and more.

Even songs in White Lies' comfort zone--namely the brooding ballad "Change," which wears its Joy Division influences proudly--feels more confident. Only the cringe-inducing "First Time Caller," whose lyrics riff on the tired "first-time caller/long-time listener" radio phrase, truly drags down Big TV. [Sep 2013, p.94]