Jenkins and Pilot pianist Toby Nathaniel have churned out a series of sad, often moving albums, including this one. [Fall 2009, p.98]

It seems they’ve found land for their sea legs, regaining footing with a more profound focus by the likes of Cambria Goodwin, whose vocals nod toward Régine Chassagne’s sadness and the haunting of Victoria Legrand.

Besides a couple of limp late-album tag-ons, it appears that, for once, the kings of chill-out have gotten downright animated. [Fall 2009, p.96]

This is a minor stumble at a major plate, but no fear. The high here do well in drowning out the lows. [Fall 2009, p.92]

The trio establishes catchy lyrics and feet-tapping rhythms, but the words are plain and the beats sound too familiar to reach dance ecstasy.

On Sing, through chipper dulcimers, ukuleles and tons of brass, the outfit makes maelodies that, though still weary, are joyfully yet vaguely reminiscent of Pet Sounds-era Brian Wilson. [Fall 2009, p.92]

Daisy demonstrates that Barnd New can remain forever sincere and massively intriguing composers. [Fall 2009, p.96]

Layered, atmospheric and melodic, each song takes its time and builds effortlessly into the next, creating an ethereal experience that intensifies with each listen. [Fall 2009, p.106]

Truelove's Gutter ranks right up there with the rest of his vastly underrated catalog; it's as ambitious as it is simple, elegant as it is morose. [Fall 2009, p.92]

Backed by friends Leslie Feist, Liam O'Neil and Evan Cranley, to name a few, Millan proves to be an intimate and arrow-like songwriter. [Fall 2009, p.102]

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

Whether constantly questioning or dismissively venting, Kinsella's got a true and clever wit to complement his writer eye and musician's ear. [Fall 2009, p.96]

Forget The Night Ahead is far from a paint-by-numbers Twilight Sad effort. [Fall 2009, p.100]

Mashing up hypnotic chants, beguiling banjo licks, head-spinning melodies and sonic tomfoolery, these 11 cinematic songs are the pseudo-psychedelic soundtrack to a most wonderful dream.

While disc two rounds out the duo's footprint upon several documentaries, what makes Cave and Ellis' scores unique is their doppelganger ability to stand alone without the films, while the films largely lean upon these audible landscapes as a means of storytelling. [Fall 2009, p.91]

To date, this is as close to their masterpiece, The Holy Bible, as they've ever come. [Fall 2009, p.92]

Efforts here lack urgency and a necessity to blow the doors off the club apparent on previous releases.

This box mingles an abundance of demos, alternative takes and other previously unreleased iterations of Big Star tunes amid sparsely retained original album versions. [Fall 2009, p.92]

It's a bit like Lance Armstrong placing second in the Tour de France--not the finish one is accustomed to, but still a remarkable achievement. [Fall 2009, p.98]

The lyrics, not entirely in English, are a bit al dente and often overshadowed by the quartet's blend of jazz, blues and dub sounds. [Fall 2009, p.106]

Get Color may not be as revelatory as its predeccessors, but its slight merits gradually ooze into the wounds it so fiendishly creates. [Fall 2009, p. 102]

Polvo hasn't failed to enrapture like the old school on this comeback release. [Fall 2009, p.95]

She transforms a Sufi song into a lullaby, and like her simultaneously near-and-distant voice, turns a faraway place into home. [Fall 2009, p.100]

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.

These songs would stand on thier own in terms of sound alone, but it's the addition of Bazan's thoughtful lyrics that make this perhaps his most powerful and interesting album thus far. [Summer 2009, p.94]

If you're looking to get into overly-produced songs that ponder Molly Ringwald-levels of culture, there's something here for you. But if you're looking to jusr sit back and ge lost in an electro blaze of glory well, that's here, too. [Summer 2009, p.93]

Her voice, by turns flighty and forlorn, has an honest personality often missing in pop. [Summer 2009, p.98]

The familiar tenor slips in easily with the woozy horns and smooth pianos, sounding confident and at ease--appropriate for the king of cool.