An irresistible set. [Sep 2013, p.97]

Danilova's vocals have a cadence that hovers between uplifting and exhaustingly overwrought, but fans at least will love these vivid, live-feeling renditions. [Sep 2013, p.97]

Impassioned, sparkling with energy and absurdly bouncy, it's a reminder of everything the North Carolina quartet did well. [Sep 2013, p.95]

A work of lyricism and maturity, this is one of Veirs' finest yet. [Sep 2013, p.97]

Nowadays they're of more select appeal, and Where You Stand suggests they're actually quite comfortable with that. [Sep 2013, p.95]

A perfect summer record for those who found the last Beach House album too wintry. [Sep 2013, p.94]

Intriguing and hauntingly lovely, if almost totally one paced. [Sep 2013, p.72]

All their songs unfurl slowly, gracefully... and some might say a little laboriously. Luckily, singer Jamie Lee has a voice that can just about carry his lofty lyrical themes. [Sep 2013, p.92]

This one keeps the focus tight and intimate. [Sep 2013, p.93]

Like any new city, this album may take some getting used to--there's beauty everywhere, but the streets are far from a neat grid. But as you walk them, Holter's genius as a sonic town planner reveals itself. [Sep 2013, p.96]

A potential Urban Outfitters house band, yes, but very far from just brainless cool. [Sep 2013, p.87]

A band that long ago perfected their sound, such collaborations rather suit them. [Apr 2013, p.68]

It's an insinuating set, bordering on morose in places. [Aug 2013, p.74]

Producers Todd Terje and Bjorn Yttling help effect a subtle but distinct shift, without sacrificing FF's Identity. [Sep 2013, p.89]

A record that's complex, inventive and terrifically free-spirited. [Sep 2013, p.92]

Combined with June's remarkably careworn vocals--they suggest that the young Tennessean has been around the block more than once. [Jul 2013, p.77]

It's a colourful, cartoonish world they inhabit, but its trippy qualities are packed with ambitious detail and worthy of serious attention. [Sep 2013, p.94]

It's hypnotic and mind-altering, like a fruitful collision between Boredoms, Neu! and the Grateful Dead. [Jul 2013, p.78]

"I Like It In The Dark" [is] a hurricane of piano boogie, metal guitar, echoes, poetry and reverb that the rest of the LP can never quite match. [Sep 2013, p.86]

It's not much of a move forward, and arguably a step back. [Sep 2013, p.85]

Portentous electronic rock made for audiences that stretch out as far as the eye can see, and choruses pilfered from a mid-'80s installment of Now That's What I Call Music! [Sep 2013, p.97]

No one can actually improve on the perfection of "Wichita Lineman," but the version of "Rhinestone Cowboy" included here, stripped down to grunge guitar and a Willie Nelson-esque vocal, is bold and definitive. [Aug 2013, p.68]

It's an ensemble work, but the tremulous "An Old Peasant Like Me" is especially affecting. [Sep 2013, p.87]

The post-punkish synth-funk of "Pagliaccio" and the "Unchained Melody"-referencing 6/8-time epic "Saviour Self" adds variety, but beneath the sonic modernism lies an artist rather too eager to be Hot Chip's more earnest little brother. [Sep 2013, p.85]

Yes, it's true--this is a great record. [Sep 2013, p.94]

His pieces for banjo, like the revenant lyricism of the title track, are charming, moist eyed miniatures. [Jun 2013, p.74]

Hardcore Poco-heads will reshaped group's Alll Fired Up.... The songwriting, though, is mere genre exercise, mostly, and thin on the ground. [Jun 2013, p.78]

Seductive, maybe--but it rather lacks character of its own. [Sep 2013, p.92]