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At times hypnotic in their understatement, every so often they gently erupt with vivid melodies that bring the underlying air of tension to its peak.
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70Much of April is quite lovely. Sure, it sounds like one long song to me, but it’s a nice song, with subtle variations.
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There’s not much to be said about an album that exists exactly as it should, satisfied by its own completion and purpose and really looking to nothing else for motivation or worth or whatever.
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83The album draws its power not simply from the quality of Kozelek's songwriting, but from the close intertwining of words and music, which makes his albums much more essential than any book he could ever publish.
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100This sense of loneliness haunts Kozelek’s best work, and it’s in full force throughout April, arguably the finest album of his career.
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Kozelek is simply continuing on his way here, but that said, to stand apart from all the superlatives and just get lost in his creation here, he has made the best record of his career.
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90Mark Kozelek defines the term “artist” and April is yet another notch on his belt, an enveloping experience that calmly and quietly wins its way into your heart.
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90But really, it's Kozelek's voice in all its imperfect glory that makes April (and indeed all of his other work) as wonderful as it is.
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The effect of all this quietness and patient exploration of song structure can be transcendent or it can be incredibly boring, and for both better and worse, April is more of the same.
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So, caveat auditor: this album is deep and often rich, but it definitely wants, even requires, you to pay attention.
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The pace can be a problem, but the music is long on understated beauty.
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60On their third album, this San Francisco–based, Mark Kozelek–led bunch stumble over saccharine set-opener "Lost Verses" (which channels icky Young wannabes America with less success than Midlake) en route to a beautifully depressing array of funereal folk.
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80Throughout, Kozelek connects memory to emotion with masterful strokes.
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As with Mark's other musical incarnations, whether as Red House Painters or under his own name, a fine-tuned and patient ear, and a good turn of the volume knob towards high, is required to fully appreciate the nuances of his music.
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If April demonstrates Kozelek’s predilection for reaching backwards, in places it also finds him broadening his range.
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80April, the third Sun Kil Moon album by Kozelek and friends, has several such sweet spots, the kind we hope will never end.
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70As lovely as that sounds, April loses momentum under such a reserved approach.
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A song or two will keep you warm and contented, but take in the full album and April will smother you worse than a down comforter in July.
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70Though its scope and scale are nothing short of admirable, April is far from perfect: Kozelek largely places it safe with his arrangements this time out, shying away form the loud rock guitars and pop songs that marked the final days of the Painters.
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70Not as good as the best work from Kozelek, and a long shot from the worst, April is a solid, if not surprising album that should be just enough for fans.
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April, his third full-length under the Sun Kil Moon moniker, and the first made up of new songs since 2003, easily bears the weight of expectations, proving once again that he really does transcend any slowcore or singer-songwriter tags that have been tossed his way.
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April lulls and hums with the tranquil peace of solitude and ranks as Kozelek's most focused, and highest achievement. [Spring 2008, p.80]
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80This third Sun il Moon album demonstrates Kozelek spinning luminescent textural webs on original compositions which, like the ravishing 'Moorestown,' rank among his very finest.
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80Few chronicle heartbreak with such methodical, forensic attention. [May 2008, p.111]
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The best comparison for April is Neil Young. [June 2008, p.131]
User score distribution:
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Positive: 11 out of 11
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Mixed: 0 out of 11
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Negative: 0 out of 11
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MikeE.6
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GuyH.9