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Jan 11, 2011The entirety of No Ghost is filled with poetic verses about the usual triumphs and failures of love, and taken together amounts to an emotionally mature piece of work with a healthy amount of upbeat, exciting tracks to go with it.
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No Ghost may initially present itself as one of the prettiest indie-pop albums in recent memory, but its structural depth truly demands and rewards active attention.
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MojoWith Klausener diving headlong again into elemental metaphors, No Ghost could easily become Garvey's album of 2010. [Jul 2010, p.94]
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For anyone who fretted that Glory Hope Mountain might have been a beautiful fluke, No Ghost confirms The Acorn's credentials, building thrillingly on the band's ability to access a variety of moods and textures. [Jul 2010, p.121]
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The Acorn hit a spry pace here, as chiming guitars, violin embellishments, and burbling electronics coalesce into a harmonious melange.
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No Ghost, for me, ultimately had the effect of calling to mind the past, even as it moved forward in painting a sound that has less to do with getting stuck in your head, and more about lingering in quiet moments as it gradually unspools itself.
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There are glimmers, in the various half-ideas that surface throughout No Ghost, of a vision that the band could have taken and run with. Klausener's lyrics can be appealingly morbid.
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Under The RadarThe songs on No Ghost are never less than pretty, though one wishes a few of them had been steered by a stronger melodic compass. [Summer 2010, p76]
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Even the most rock 'n' roll track, "Bobcat Goldwraith," starts with and then later, after much cacophony, unravels to reveal the same building blocks underneath. The plinking and plunking riffs of No Ghost prove inescapable. That isn't necessarily a bad thing, mostly because what follows those riffs is done so well.
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Q MagazineUptempo grooves such as Bobcat Gold Wraith may be too workmanlike to build up much momentum, but there are some lovely moments here. [Jul 2010, p.128]