Heaping handfuls of sound are shaped into a dizzying array, landing somewhere between a heavy Queen, even heavier '70s British prog and a more interesting Dream Theater. [Jul 2015, p.96]

The Heart Is A Monster is not only a stark reminder of why the band have been so influential, but it also underscores their status as modern trailblazers. [Jul 2015, p.97]

Building on the intelligent, melodically inventive sounds showcased on 2013's Rescue & Restore, the quintet further distinguish themselves from the metalcore pack in a manner that seems effortless. [Jul 2015, p.96]

A well-rounded album that might be mewithoutYou’s best.

Whether it's moving, restrained numbers or jarring, chilling bursts of intensity, it's a hellish journey with heavenly execution. [Jul 2015, p.97]

Cemetery Highrise Slum provides 41 minutes of unsettled bliss. [Jul 2015, p.97]

Van Etten cements herself as the auteur of the symphonically sad.

This cause-minded screamo-ish collective is older and more grounded, but are no less committed to inciting change that sticks. [Jul 2015, p.98]

Grand Romantic is proof-positive more Nate Ruess is always a good thing. [Jul 2015, p.100]

At least as good as their first full-length, Connector hits everything we’d want (and a little more).

Exuberant and energetic.

Four Year Strong is catchy, polished and displays lyrical depths. [Jul 2015, p.96]

At times, it lacks focus, but this is still a perfect soundtrack for lonely nights at home with your demons. [Jun 2015, p.98]

These 14 songs find the band raging as hard as they ever have. [Jun 2015, p.97]

Twenty One Pilots ramped up everything, from new influences to the number of producers (four) to the metric ton of uncertainties and fears multiplying in frontman/songwriter Tyler Joseph’s cranium. And it’s wonderful.

The proof [of the band's maturity] is in each one of the songs: Every member is playing with a richness and depth that can only come from spending all this time in the studio and onstage together. [Jun 2015, p.95]

The [concept album] format doesn't overshadow the songwriting. [Jun 2015, p.100]

Through every shift in tone and style, Fernow keeps his focus, connecting these songs with small bits of spoken word that conjure up dark visions of people desperately searching for meaning in an increasingly dismal world.

The band have transcended to a newfound comfort, creating the most natural music of their career. [Jun 2015, p.97]

Born Under Saturn is an album of ambition, and while the gaffes certainly hold it back, there are enough good ideas crammed in throughout, making the album a worthy trip to a spacey dancehall.

This is the most imaginative and urgent FNM have sounded in years--not to mention the most relevant. [Jun 2015, p.96]

II hits like a concussion grenade, and you'll revel in the damage long after the room's been cleared. [Jun 2015, p.96]

Anxiety's Kiss is what Coliseum have been working towards all these years. [Jun 2015, p.97]

"Bring Me Home" showcases a bit more of the band's mid-paced rock sound, very much coming across like when Face To Face try to mix punk and rock, which sometimes works and sometimes falls very short. Millencolin make it work, although when they're punking-out fast and hard (like on the awesome "Sense & Sensibility”), things work even better.

Hospital Handshakes is proof that you can get close to hitting rock bottom and still rise up from the ashes with the album of your career. [May 2015, p.102]

If one can digest [Thompson's singing], though, Hairball makes for a pretty fun listen. [May 2015, p.100]

Instant Gratification cements the band's veteran status and solidifies what we've always hoped: Dance Gavin Dance will never die. [May 2015, p.98]

Foil Deer is a meticulous collection which deconstructs convention. [May 2015, p.100]