The anthems still have Morrissey and Marr in their DNA, but they pout more than they roar. [Sep 2014, p.108]

Brill Bruisers leaves a lasting impression in the best possible way. [Sep 2014, p.108]

There are good cop/bad cop phrasing, well-placed electronic glitches and enough predictable, djent-ish riffing to keep the pit going. [Sep 2014, p.104]

The sixth studio album by the international power-metal squad largely makes the positive changes heard on 2012's The Power Within stick. [Sep 2014, p.106]

Though slightly dragging and formulaic at times, the melodies and arrangements are strong and memorable, stacking up against Mascis' previous solo releases. [Sep 2014, p.107]

At 17 songs, Manipulator is a psychedelic handful of kaleidoscopic visions for the post-Kurt Cobain world. [Sep 2014, p.110]

They drench Great Divide in both attitude and dirty fuzz, making for a record that draws from timeless arena rock while sounding fresh and new. [Sep 2014, p.110]

The album provides further evidence of Drozd's remarkable artistic growth since he took on a more active songwriting role starting with The Soft Bulletin. [Sep 2014, p.106]

As was true in those bygone days, the hippieish uplift can get a little fuzzy, but the bass-rattling jolt of "Buffalo" will clear your head--and fill the floor--fast. [Sep 2014, p.104]

The songs on Get Hurt do all the talking for him, loud and proud, crashing and bashing into the night, taking heartache and turning it into triumph. Pure rock ’n’ roll.

What Worlds never does is cohere in any appreciable way, stomping all over its finer moments with another synth glitterbomb and burdensome bass drop. [Sep 2014, p.107]

It's a solid first salvo from a band who clearly have the chops to make a serious stir. [Sep 2014, p.105]

Emptiness has rarely sounded so fulfilling. [Sep 2014, p.108]

Call it growing pains for a storied discography, but the result leaves the album feeling unbalanced around the gems and less rewarding over multiple listens. [Sep 2014, p.110]

Manslaughter is a ferocious, heavy record that proves once again that Ice-T and company are undeniable metal contenders, far more than a pop-cultural footnote.

It won’t satisfy the appetite of fans of the band that are salivating over the thought of a brand new album with Lindberg’s patented shout-sing back and leading the charge. But as a stopgap and look back at the band’s early years, Yesterdays is a rowdy Pennywise romp.

Gemini, Her Majesty is by and large a step back towards the fertile brilliance that rightfully gained Rx Bandits exposure in the early 2000s, recapturing the jubilant mix of styles they deployed with so much fresh aggression and poise.

Rather than try and move these songs into new territory, everyone involved seem hellbent on remaking Lewis into something closer to Sheryl Crow or Shania Twain. It’s a weird place for her to be in, yet one that she looks to be acclimating to quite easily.

Throughout, Campbell touches on one of his greatest lyrical strengths--his attention to detail--to bring scenes to life, while also being acutely aware of the underlying emotion and backstory just beyond the setting. It’s devastatingly effective.

The tunes are instantly likeable.... What's missing are the immediate hooks that today's competitors from Katy Perry to Marina And The Diamonds, use to claim Madonna's now-vacant throne. [Jul 2014, p.98]

As it stands, Lowborn isn't as good as Vital, but it still does an admirable job at continuing Anberlin's sonic expression. [Jul 2014, p.95]

Another ostensibly strong album in Joyce Manor's catalog, and one that hopefully doesn't go unfairly overshadowed as well.

As always, Loveland's eye for details elevates Candy Hearts' songs. [Jul 2014, p.100]

As the title suggests, REAL. is the genuine article.

The songwriting is daring yet tightly focused, catchy yet crushing, but executed with a level of skill that’s an obvious reflection of the band’s greater experience.

Whatever meaning you take from them, however, one thing remains solid--the sheer heart with which they were forged and the very visceral emotion they contain.

It may not have the continuity or cohesive potency of a Document #8 or City Of Caterpillar, but it's a pleasant rage like few others coming out and, when necessary, clearly shouts what it wants to be heard.

An exercise in simplicity, Free Will’s one critique is at times feeling too simple. Given enough time, though, and a quiet enough room, the beauty in the music comes through strong, and second listens let the lyrics ring truer.