The list author says: "2011 certainly wasn't the best year in music for me. Many of the records at the end have only 3, or even 2, very strong tracks. Sad Sad. Maybe we should move from LPs to EPs so artists stop wasting space. Plus I won't have to wade through all of the filler. Enjoy."
"Strongest 'witchhouse' release of the year. Highly unique atmospheres for those with a reflective bent. A major achievement of the record is the balance between the pensive melancholia of ambient artists working in the footsteps of Tim Hecker on the one hand, and the hip-hop inspired drum machines and menacing sonic debris of Salem on the other."
"Indie-pop I guess. Definitely has a retro feel -- something like 60's rock reinterpreted, but with some subtle doo-wop and soul influences. There's tasty classic organ sounds and excellent vocal performances. I particularly enjoy the percussion since it avoids conventional rock drumming. Lyrical content is insufferable at times however."
"Short, mega lo-fi, indie rock songs with their own quaint charm. Kind of has a 2nd generation punk feel akin to bands like Rancid but with the 'trendy' indie guitar feel. I think it's because power chords are mixed with inversions and 3rds and 4ths and beyond."
"This band really reinterpreted itself. Their earlier stuff emphasized very slow development and abnegated standard song form (e.g. verse-chorse-verse etc.) This records highlights singable up-beat hooks with vocal narratives. Oddly, I keep thinking of 70's rock in the vein of Bad Company, but with modern synths."
"Former member of Vex'd. The best thing about that is that you'd never be able to tell. Shares some similarities with the Chicago footwork scene which Plant Mu has been doing a good job promulgating. It's way more accessible though."
"With the advent of dreary, morbid, and distorted electronic music on the rise, one could only expect that it would seep into the rock-world's vocal stylings. Zola Jesus did it first, but for the most part EMA seems to be doing it better...I guess."
"Minimal dubstep with processed R&B vocals. This style emphasis negative space and texture. It's challenging music since it not only repudiates standard song form (verses, choruses, bridges), but also usually forgoes development which even post-rock bands have. It's about overall atmosphere, which in this case is sedated, eerie, soulful, and synthetic all at once."
"80's goth-pop for those who like The Cure, New Order, Depeche Mode, etc. (Popular labels: dark-wave, no-wave.) They lost most of the noise and substituted it for production polish, and actually managed to write accessible songs with just enough unnerving sonic shrapnel to where they're not catering to conventional pop sensibilities."
"Rock anthems in the vein of Marc Bolan as another critic has astutely noted. One annoyance: repeats the refrain at the end of some songs to an exhausting degree. The Noah and the Whale record commits the same error."
"Indie Rock which demonstrates much more technical proficiency than many other indie rock bands. The vocal work is great, but there's enough in the instrumental to get lost in -- even some odd time signatures (yes!)."
"Very repetitive and minimal Dubstep. Like myself, and almost anyone else I know who has a Burial fetish, you may detest this at first. "Everything sounds the same", you might think. But it's all about mood and atmosphere: play it in the background."