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For the listener, disconnecting will be all but impossible.
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Stop me if you think you've heard this one before.
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The album runs the dream-pop gamut, from dizzyingly energetic to loopy and surreal.
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With the band now considerably more settled, the release of Disconnect from Desire is confirmation that SVIIB's meticulous balance between the spiritual and choral has reached a confident, polished plateau.
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The thicker, more driving songs resemble a polished, warm Curve, whipping up squalls of noise over robust played-and-programmed rhythms that soar more often than batter.
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Sure, they may have lost their vulnerability, but School Of Seven Bells suit their new found assurance, and in doing so win our hearts for a second time.
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Where those newcomers privilege the nostalgic, indefinite, and noncommittal, the vets in SVIIB make a confident gesture towards the future.
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The Edge has cited this New York loops-and-dance trio as a recent inspiration.
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Fussy knob-twiddling grounds a couple of tracks, but this skyward-reaching album delivers plenty of solidly earthy pleasures.
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Under The RadarFor the most part, the new album hews close to the up-tempo pop of Alpinisms. But Curtis, the wizard behind the musical curtain, has a few new tricks up his sleeve. [Summer 2010, p.85]
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Alternative PressThe result is an album that's dream-like and ephemeral, but still surprisingly grounded and catchy--no doubt the result of strong songwriting and a firm sense of time and place. [Aug 2010, p.152]
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The happiness of the album is catching like the cheer of a sunrise.
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It's airy, synth-heavy and loud, and it moves like a glacier.
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Q MagazineIt's an addictive dream-pop blueprint, yet it's only when the percussion powers down, as on closer "The Wait," that the band hit the ethereal heights they're shooting for. [Aug 2010, p.125]
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It's not that the band sounds exactly like Stereolab, or like anyone else, but listening to Disconnect from Desire feels like shuffling through a '90s alt-rock playlist.
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An enjoyable if occasionally familiar-sounding second album from this New York trio continues their open-armed embrace of the woozy melodies and prettified feedback of early-90s shoegaze indie while upping their game somewhat in terms of polish and accessibility.
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UncutThis follow-up strives to be less ethereal, and with the somewhat mannered twin vocals of Alejandra and Claudia Deheza more to the fore, it brings to mind Madonna's "Ray Of Light." [Aug 2010, p.94]
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Like many bands before them who similarly created magic with their debut albums, this Brooklyn trio can't quite harness the same level of energy for their sophomore effort.
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For all its forward thinking, the combination of shoe-gaze and synthy electronica leads the record inevitably back to the 1980s, mirroring the haunting sound that M83 have perfected so well.
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It's hard to dislike this album because it is capably performed and the sounds and voices work up a dreamy headspace, but it's also difficult to be really enthusiastic about it.
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The lyrics never step beyond New Agey, four-elements platitudes, and the arrangements, even when ostensibly dark, never cut against the vocals' immaculateness.
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Too much of Disconnect From Desire is an interchangeable muddle of middling drum programming and Teflon Liz Fraser vocals.
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This album is grounded. Slightly lost and, sadly, all too findable.
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The Stepford wives of shoegaze.
User score distribution:
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Positive: 5 out of 7
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Mixed: 2 out of 7
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Negative: 0 out of 7
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Oct 2, 2011
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Sep 20, 2010