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BEACH HOUSE - Teenage Dream

[Sub Pop; 2010]

"Teen Dream, Beach House's third album and first for Sub Pop, is both the most diverse and most listenable of their three full-lengths, and yet it never seems like a compromise. It feels like the product of careful, thoughtful growth, bringing in new influences-- bits of mid-1970s Fleetwood Mac, sparkling indie pop, even a few soul and gospel touches--- while maintaining the group's core sound. Teen Dream is a stirring reminder that good things can happen when you move out of your comfort zone. (...) Despite the brighter, more pop-informed sound and an album title that brings to mind the hazy nostalgia of youth, Teen Dream has a pretty sad heart." --- PITCHFORK (9.0)

SURFER BLOOD - Astro Coast

[Kanine; 2010]

"This is a great guitar album in the way Weezer's Blue Album, Built to Spill's Keep It Like a Secret, or, more recently, Japandroids' Post-Nothing are: six-strings serve as a multiplier for hooks, making it every bit as easy and fun to air guitar with as it is to sing along to. (...) Astro Coast is lyrically landlocked and lonely. (...) Topics of concern include confusion about romance, confusion about friendship, confusion about the future, confusion about religion. It's hard not to think that most of Astro Coast was borne of a relationship dissolved by distance, especially if we're to take the otherwise chipper "Twin Peaks" at face value: Pitts travels to Syracuse, watches David Lynch films, and wrenches out lyrics of sexual frustration that suggest most of the drive was spent listening to Pinkerton. (...) ambition can just as easily manifest itself as a desire to create a relentlessly catchy, "classic indie" album in your own dorm room, and if that's what Surfer Blood set out to do, Astro Coast succeeds wildly." --- PITCHFORK

MAGNETIC FIELDS - Realism

[Nonesuch, 2010]

"The antithesis of 2008’s noisy Distortion, Realism revels in folk music in a way that hasn’t appeared on a Magnetic Fields album since 1990’s Distant Plastic Trees. (...) By far his most listenable and fully realized work since 1999’s mammoth 69 Love Songs, Realism feels slight because it is. It’s hard to hear someone so adept with a poison pen preen instead of brood, but it’s also rewarding. In the end, longtime fans will want to go back to the opening cut and seek out the comfort of those familiar first three chords that, like a seasoned bluesman with his E to A to B, have become synonymous with their creator, but hopefully, they’ll decide to take another trip through the countryside, soak in some much needed sun, and let bygones be bygones." -- ALLMUSIC

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