While he doesn't exude happiness throughout all 12 tracks, there's a feeling of contentment with his newfound solitude. Clearly, Lytle's time away has recharged him, even if it's in a way that reflects a more mellow life. [Spring 2009, p.92]

The group still moves within the same sphere as LCD Soundsystem and The Rapture, but if you're not fed up with indie-electronic-dance-rock just yet, !!! is still among the best in the hybrid genre.

The duo shows maturation musically and lyrically, albeit wildly, proving that they are true, spirited forces to be reckoned with.

From the album's very first strains, you know something mysterious, maybe even mystical, is afoot.

What's key is they remain as disaffected as brother band Crystal Stilts, and cling to longing, woozy Slumberland vibes without fear of brighter tones, trendy surf and obvious, intelligible lyrics (little more than an amusing addition).

She dives into a murkier, less-definable world that is part acoustic neo-soul, part spoken word and dreamier than you might imagine. [#9, p.102]

Delivering a disarmingly beautiful mix of vocal harmony pop alongside blippy electronic beats, Epstein and Zott honor the melodic tradition of The Beach Boys (the two included an amazing cover of "God Only Knows" on their EP) to create one of the best debuts of the year.

It's a joy to hear their sorrowful whispers and swirling, multi-instrumental collages after a four-year absence.

Memoryhouse push their indolent, Sunday morning music as far as possible into the depths of recollection.

Incorporating harp, horn, clicks, clacks, reeds, bells and strings in other more "typical" Múm songs like 'Dancing Behind My Eyeballs,' they breathe a bit more breath and color into their swaying, hypnotic pop music.

Never, Never Land doesn't have a single track that comes close to Fiction's epochal "Lonely Soul" or the eerie "Rabbit In Your Headlights," but overall it works more as an album of equal bombast and grandeur. [#13, p.94]

Los Angeles–based Superhumanoids explore life’s dichotomies with the sonically atmospheric Exhibitionists, illustrating the contrast between the masculine and feminine aspects of human relationships through vocals, lyrics and instrumentation.

Themes of maturation again flow through, yet some tracks (“Jailbirds,” “Bottled Affection”) recognize the trade-off between freedom and insecurity of youth.

Between their ferocious instrumentation and a razor-sharp understanding of who they are, these New Yorkers hope to usher in a return to the city’s two-finger salute heyday. So far, so good.

It's a cleaner, catchier Tapes 'n Tapes that, despite often flaunting rather than infusing its influences, may actually leave you humming its tunes.

It's an unmistakable departure. But when her staid delivery and lyrics sink in, the artistry that draws listeners toward El Perro Del Mar comes to light.

Supported by a new cast of musicians and soaking up the atmosphere, Ounsworth has crafted an album that transitions seemlessly from ballads to more frentic tracks with a straightforward sound that lets the songwriting and hooks resonate without being over-produced. [Fall 2009, p.100]

It's a bit all over the map, but you have to admit there's some good music there. [#8, p.102]

A 16-minute EP that has similarities to the trio's [Au Revoir Simone's] dreamy synth-pop, but takes the music into lusher, sexier '80s territory.

Fool's Gold knot their songs up in Lewis Pesacov's elastic guitar, and when they let it go-as in the closing moments of "Bark & Bite"-everything unwinds into bliss.

The record is more balanced, but that youthful spark is harder to find.

Fleet Foxes fans will relish “There is No Good in Me,” in which Tillman’s penitent voice melts into what sounds like a processional march by a cathedral choir. But it’s the celestial title track that lingers like an angel’s vapor trail.

While The Only Place loses much of the simplicity that made Crazy for You such a breezy, fun listen, there's only room for growth in records to come.

Infectious. [#11, p.98]

Producer Daniel Smith ropes in hand-wrung guitars and padded pianos, balancing the boom of Ben's baritone against the golden peal of Vesper's alto. And while they manage to wile-out and get psychedelic, they're at their best when they're most vulnerable.

Void of irony but sounding slightly inauthentic, Edward Sharpe & The Magnetic Zeroes hit the right notes but may be a little late to the revival. [Summer 2009, p.96]

There's an ardent emotionlism here that would make Otis Redding seem calm in comparison. [Fall 2009, p.106]

The collection features spacey landscapes and gentle-though-firm beats layered with those signature nostalgic harmonies.