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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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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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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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For the listener, disconnecting will be all but impossible.
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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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This album is grounded. Slightly lost and, sadly, all too findable.
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Stop me if you think you've heard this one before.
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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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The album runs the dream-pop gamut, from dizzyingly energetic to loopy and surreal.
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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 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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The Edge has cited this New York loops-and-dance trio as a recent inspiration.
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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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Fussy knob-twiddling grounds a couple of tracks, but this skyward-reaching album delivers plenty of solidly earthy pleasures.
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The Stepford wives of shoegaze.
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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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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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Too much of Disconnect From Desire is an interchangeable muddle of middling drum programming and Teflon Liz Fraser vocals.
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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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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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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.
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