Generally favorable reviews - based on 16 Critics

Critic score distribution:
  1. Positive: 10 out of 16
  2. Negative: 0 out of 16
Buy On
  1. Uncut
    May 2, 2012
    Teaming up Oberhofer with veteran producer Steve Lillywhite seems to have drawn out an impressive sophistication. [Jun 2012, p.80]
  2. Apr 16, 2012
    Its relentless energy is utterly addictive.
  3. 80
    It gleams like a skate-park erected in the clouds, and this is your invitation to strap on shin-pads, get up there and carve up some cumulonimbus.
  4. Apr 13, 2012
    There really isn't much not to like about Time Capsules II; it would take a lot of energy to summon up any hatred for it, like hating a new-born puppy, or your own child.
  5. There's no deeper level to be revealed in Oberhofer's brief pop-rock tracks and for that reason Time Capsules II remains a consistently easy and pleasant listen.
  6. Apr 10, 2012
    Time Capsules II is that kind of album: a buffet of familiar confections designed for easy digestion, painstakingly dressed and seasoned to demand repeat consumption.
  7. Mar 29, 2012
    A fresher, grander, and altogether tougher sound [than debut, ooOooOo] in the notoriously flimsy realm of beach-pop.
  8. Mar 29, 2012
    Oberhofer has imagination to spare, but Time Capsules II would benefit from reeling in a bit -- most of the songs are at least three and a half minutes long but finished saying what they needed to before reaching that time point, and as welcome as xylophone is on an indie pop record, hearing it on what feels like every song is a bit much.
  9. 70
    A confident and promising debut that will leave you wondering where Brad Oberhofer and his cohorts go from here.
  10. Mar 29, 2012
    This is not his creative masterpiece, but there is no doubt that one is yet to come.
  11. Mojo
    Jun 25, 2012
    While there are moments that grate, this is an assured first outing that suggests that Brad and his band are worth keeping a keen eye on. [Jul 2012, p.83]
  12. Q Magazine
    Apr 25, 2012
    Best of all is Cruisin' FDR, which oozes carefree joie de vivre... as it transposes the Californian lifestyle to the East Coast, where even the dark sky is grey "in a beautiful way." [May 2012, p.102]
  13. He comes on like a Conor Oberst meets Brian Wilson in a ramshackle approach that sounds to these ears like a refreshing burst of honest emotion in an often pallid musical landscape.
  14. Apr 16, 2012
    More than anything Oberhofer's optimistic, melodious pop-rock, all "oohs" and "ooh-e-ooh-e-oohs", takes its cues from the Beach Boys.
  15. Apr 12, 2012
    Compared to the wool-sweater warmth of those early recordings ["Crocodile Rock", "Babies"] Oberhofer's sad-sack persona and yelping vocal ad libs come off here as less endearing and more desperate, like someone trying to oversell simple songs with eccentric affectation.
  16. Apr 13, 2012
    At his best, Oberhofer packs emotional punches in the maniacal vocals of 'I Could Go', underscored by proggy synths, billowing flutes and a chorus that stomps around like a giant drunk toddler. Somehow, Oberhofer's melodrama makes getting dumped sound fun. If only he could keep it up over a whole album...
User Score

Generally favorable reviews- based on 4 Ratings

User score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. Sep 9, 2012
    To be fair, this review is not aimed at Oberhofer. The songs are emotional and well-written. However, some of the songs that were given theTo be fair, this review is not aimed at Oberhofer. The songs are emotional and well-written. However, some of the songs that were given the production "shine" enjoyed by signed artists were ultimately butchered by the process. This is especially true for the first half of the album in the finished products of "o0O0o0O0o", "Away Frm U" and "I Could Go" - where the beautiful simplicity of these songs was left behind in a sea of garish, unnecessary gimmicks. In all of these songs there is a shadow of the former song visible that makes the listener want to like it... before a tacky trick (like the piano in "o0O0o0O0o") breaks the reverie. Perhaps the worst offender of this is the complete change in tone provided by the Xylophone solo in "I Could Go", which is quirky and fun in the middle of a quite moody song. Despite the music crimes committed in the first half of the album, the second half of the album keeps it from being a total wash for the band's debut. Beginning with "Cruisin' FDR" the songs become much more uniform in feel, with each song maintaining consistency throughout. The highlights of this half include the dream-like "Haus" and the twinkling idol-worship of "Gold". The lesson to be learned in this album is that if a song is an underground hit, it is usually because it is a good song. But instead of cleaning these songs up, the producers of this album made them almost unrecognizable. My advice to listeners: forgive the band for the first half, and look to the second half as a sign of hope for the good things to come (and maybe they will release the original versions of the first half of the album). My advice to Oberhofer: get a different producer. Full Review »