“These City Limits' For the Rest of This Life... . is an awesome album. I loved the punchiness behind both the lyrics and music. It teetered on a lot of different edges of genres including punk, synth-rock, alternative and a little bit of hardcore. It was essentially an album that spun everything that is good about each of those genres into a really great whole. There was a lot of drive behind most of the songs on For the Rest of This Life... and the ones that had that fast pace were the best ones on the album: "Chase the Reaper," "A One Night Stand-Down," "Idle Action." I'm not counting out the slower songs either; those were fantastic as well. I liked the fact each had a specific message that resonated well; topics like the end of the world ("These Days," "Recall the Alarm"), temptation ("One Night Stand-Down"), activism and the ridiculousness behind some of it ("The Radical") and alcoholism ("A World Apart," "Two Sides of Recovery"). There's a dramatic flair to the vocals and ...”

“One of the perks (if not THE only perk) of reviewing albums is getting a free copy of a record before anyone else. In this case, Indiana’s These City Limits sent me their new EP before they even have a label to release it. It’s definitely a privilege, but I also felt a strange pressure just hoping that I would like it and not feel the need to say something negative. The good news for These City Limits is that my opinion of music isn’t shared by many. The bad news is that the self-induced pressure was relieved immediately. The Modern Standard begins with a Muse-like piano intro that is met quickly with vocals that are very reminiscent of Casey Crescenzo of The Dear Hunter. The song slowly builds with the addition of even more Muse influenced keyboards and then bursts open with buzzsaw guitars, hard hitting drums, and background screaming while maintaining the slow and eerie pace with which the song opened. Even though “Gather” is the only track on the EP that sounds lik”

“Pop music is evil.  I don’t mean in the “destroying the industry” sense, but more in an infectious disease kind of way.  Especially when the band is initially masked as something else. You’re lured in with clever and unique drumming and a darker chord progression than what you were expecting and now you’re captivated.  However, the singer kicks in and, though good and intriguing, it’s the kind of vocals where you just think to yourself that he’s obviously trying to garner some mainstream attention.  You’re hit with the chorus and there it is; the 4/4 drum beat and recognizable, yet forgettable riff and catchy vocal pattern. Then you black out and when you come to, you’re whistling the chorus as you walk out of your room, or car, or mom’s basement only to run back and press play again for the 18th time in the last hour.  You’re hooked and you couldn’t be happier about your slow demise into the realm of pop music. ”

"Prophet for Profit has got a tremendous syncopated feel. Killer!"