The Fader (#80) has a cover feature on Beach House by writer Sam Hockley-Smith called "Tidal Pull":
"Conversation turns to John Waters, the Baltimore-based director that has fashioned himself into something of a guru for the city's scrappy artistic community, hosting yearly Christmas parties to which Scally and Legrand are regularly invited. ... 'John Waters is like the kind of artist that makes entertainment like...' she [Legrand] trails off, seemingly at a loss at how to describe Waters' ability to portray the deeply weird tendencies of artists in his films. 'Why are people so insecure? All performers are so insecure and need affirmation,' she stares at a corner of the bar's low ceiling. 'Is that what this is? That all humans - they just want to hear themselves to prove they exist?'"
Big Take-Over (#70), there's a review of Free Electric State's new record, Monumental Life:
"...anyone would be held hostage by the heavy textural guitar majesty (veritably Hyaena-esque!) and emotionally wrenching lyrics, grieving five people close to the members who died recently... It'll make you glad you're alive, in joy and relief." -Jack Rabid
There's also a review of The Jennifers' Well-Intentioned World:
"This is a fine collection of top-notch pop from this Baltimore quartet. ... These guys have strong melodies, hooks galore, and the interesting rhythmic push and pull of early XTC - all a winning combination for connoisseurs." -Corin Ashley
And Dustin Wong's Dreams Say, View, Create, Shadow Leads:
"...listening to Dreams is like examining the most intricate and beautiful of tapestries. You can either follow one thread of distorted guitar, getting lost in the maze of colors and patterns, or you can let the whole thing wash over you like a hazy electronic blanket, not trying to focus on any one element." -Emily Wheeler