Transit Blues marks both Prada's sixth full-length album and an impressive step forward. [Nov 2016, p.87]

Slaves pull no punches with social and political commentary. But Take Control is also diverse and boasts sly British humor. [Nov 2016, p.90]

Really, punk doesn't get much better than this. [Nov 2016, p.90]

Joyce Manor successfully break through the quintessential sound of both pop and punk to beautifully curate a 10-track album that is a little weird, unabashedly intimate and all too relatable. [Nov 2016, p.90]

This set [is] their best yet. Every member's in fine form here. [Nov 2016, p.88]

They've made a graceful exit here. [Oct 2016, p.86]

Light We Made reveals a new sense of agency via Jon Simmons’ confident new vocal technique and experimentation with stronger electronic elements.

Radio also is the most intensely personal Green Day album in years; as much a celebration of life on the upside of 40 as it is a reminder of the choices, conflicts and contradictions that mark a life well-lived.

Low Teens perfectly captures the history of the band into one solid release. If you’re looking for something new or completely groundbreaking, you won’t find it here. You will find an incredible album that grows with every listen.

Hearing him cut loose on this new project is a welcome change, and his obvious affection for Gordon shines through every note of this charming effort. [Oct 2016, p.88]

The result is a beautifully sad collision of melody-drenched, aggressive art rock that retains plenty of the fast-paced intensity the band's perfected. [Oct 2016, p.90]

TBS still manage to drive home those angst-filled undertones fans have both embraced and expected since the band's inception. [Oct 2016, p.90]

Shape Shift With Me doesn’t offer a lot in the way of answers, but watching her fumble her way through the questions is a pleasure, regardless.

As adept as the band are at alternating between metalcore and pop-punk, McKinnon’s words are similarly nuanced and multifaceted here.

The sound on Stay Gold is what suits him best: heart-on-sleeve Americana that’s equal parts earnest and exuberant.

This is a band with no bullshit, no frills--just consistent, hardworking musicians putting out music that continues to push the boundaries of what the possibilities of punk can be.

If you’ve shied away from drone music because of its sonic inaction, here’s a good remedy.

Home Of The Strange adds back their debut’s indie charm, then catapults Sameer Gadhia’s sensational vocals to the front. Keeping those levels in check allows the band to effortlessly explore ambient electronics (“Amerika”), dance numbers (“Silvertongue”) and every other curiosity along the way.

An ambitious effort with story-shape influenced by the band's history while moving forward with increased sophistication and nuance. [Jun 2016, p.102]

There’s a hearty dose of nostalgia here, but in the end, it feels less like a retread and more like a continuation--and a celebration--of the good old days.

California sounds like what Blink-182 probably should sound like in 2016: upbeat, hooky and, above anything else, a total blast. Some will call the lack of truly progressive moments a regression while others will hail the album for being a breezy throwback. But Hoppus, Skiba and Barker have given Blink-182 momentum for future productivity and success.

There is so much more offered in this collection of 11 songs than we’ve seen of Whitechapel previously, making Mark Of The Blade an exciting milestone.

Aggressive is probably the most compelling statement you’re going to hear for the validity of heavy rock music in 2016.

Against The Current's most mature and polished release yet. [Jun 2016, p.99]

The Home Inside My Head cements Real Friends' place as new-school pop punk's lead dogs. [Jun 2016, p.102]

Ultimately, To Be Everywhere Is To Be Nowhere is a small triumph not just in its existence but also in its execution. Second chances don't normally sound this sweet.

Architects somehow increase the ferocity with hit-and-run instrumentation to highlight Sam Carter, the genre's strongest clean vocalist and screamer. [Jun 2016, p.100]

An LP of remarkable dynamic shifts, stop-on-a-dime time changes, tribal menace and sinister lyrics. [Jun 2016, p.102]