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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