Review: Seahaven's Reverie Lagoon is a shimmering emo record

Reverie Lagoon: Music for Escapism Only is an emo-centered indie rock record ruled by its quieter
moments. Paralleling the needlessly wordy title, it’s a slightly bloated album. The distractions are minimal, however, and the album’s longest pieces are also its standouts. Seahaven’s preferred genre has changed since 2011’s Winter Forever, but while the band’s current material may not be as easy to consume, it’s arguably more original and ambitious.

The tired and irrelevant disapproval of Epitaph Records

Epitaph's Punk-O-Rama 10 relates to possibly my earliest memory of evaluating a work critically. My favorite band was NOFX, who at the time released a series of EPs as part of its 7" of the Month Club. I didn't have a record player yet, nor was I very keen on how to obtain rare songs by other means. I used the Internet very infrequently.

Review: The Lawrence Arms confront adulthood on Metropole

“I blinked twice, and twenty years went by.” Rarely has a cliché come across so earnestly, but on Metropole, Brendan Kelly’s revealed longings, even the fairly pitiful ones, are sympathetic. The record itself is a testament to the fleeting aspects of adulthood. Fatherhood, husbandhood, relocation and work all rearranged the priorities of the long-running punk rock band, and it’s now been nearly eight years since The Lawrence Arms released its last full-length. As Kelly might put it, less than the blink of an eye.

Review: On its sixth full-length, Against Me! finds clarity

Transgender Dysphoria Blues is the product of more than two years of songwriting, a pair of lineup changes, and a recurring battle with progress. It’s the end result — or, perhaps, a single milestone — of Laura Jane Grace’s personal journey, one that has since evolved into something much more public.