Rich Quinlan:

The wildly inventive members of Cymbals Eat Guitars continue their evolution as players with the expansive, usually ethereal Pretty Years. The opening “Finally” has a futuristic atmosphere that minimizes guitars and replaces them with a haunting haze that exists throughout the track. “Have a Heart” shifts towards indie pop with a sweet, passionate chorus that is pure pop but not in a negative way. The song harkens to 70's AM classics, as does “Wish,” the first single from the band. With a big hook and neatly placed sax, there is a familiarity to the effort that makes it comforting, yet it also retains a uniqueness that define the amorphous nature of the larger record. It is a rare treat when guitars truly do appear on Pretty Years, and this dearth of aggression makes the hyperactive mass of anxiety “Beam” such a welcomed respite from the quiet. Lo, for me, too much of Pretty Years was just too pretty, as I consider myself among those seeking claustrophobic chaos as common threads in my musical pursuits. Yet, while lacking vitriolic vehemence “Dancing Days” and “Well” are pristine pieces of indie rock that discreetly push the genre forward as Cymbals Eat Guitars tap into profound emotional depths. The closing “Shrine” has a thunderous conclusion to a soul-searching performance by vocalist Joseph D'Agostino who sings as if he is reliving and thereby exorcising deep-rooted pain. This is a record that stretches its legs and offers open spaces in which to move and sweep listeners away with it.

Paul Silver:

Some of the songs on Pretty Years build on that sound, like the fantastic opener, “Finally.” After a quiet, simple introduction, it explodes into an epic sound. I’m not sure if it’s keyboards or guitar, but the sound towers over the song with huge harmonics and monumental reverb. The song has a loping feel to it, and the soulful organ-like keyboards add warmth to the arrangement. “Have a Heart” is a great track that’s a bit of a dance-pop number, still with the dreamy feel in the electronics. “Beam” is probably the most raucous track I’ve ever heard from CEG, bordering on a punk feel, and I really like how the band is exploring their more aggressive side here. And “Mallwalking” brings to mind some of the great swirly electronic numbers Bill Nelson was doing in the 80s, and the wobbly feel is unbalancing in a good way.

But then there are tracks like “Wish,” which I just don’t understand. It’s very out of place, having more of am R&B funk-rock feel. And Joe D’Agostino’s vocals are forced into an unaccustomed gravelly sound, like he’s trying to channel Springsteen, perhaps. It just doesn’t work for me. “Dancing Days” sounds more like a dream pop version of a torch song, some ballad you would hear from a suitable diva of the day on a TV variety show, but again, D’Agostino’s vocals are forced and raspy. And other songs fall somewhere in between, as decent enough listens but nothing to rave about.

One thing needs to be noted, and that’s the production quality. There seems to be a purposeful distortion in much of the recording. I guess it’s trying to get to a particular effect. But I find it an annoying disruption, diverting attention away from the music. I get it – distortion in some applications works well. But my own opinion is that it doesn’t sound right with CEG, at least not overdone to this extent. One of the early singles from this album, “4th of July, Philadelphia (SANDY)” is a good example of this. It’s another otherwise great track, but the distortion in all of the instrumentals is very distracting. I think some of the songs would sound better if this was cleaned up.

Like I said, mixed feelings. There are some things I like a lot, and others not so much.

JIM TESTA:

So it’s not surprising that on their fourth album (I think we’re beyond the “make it or break it” cliché by now,) D’Agostino’s Cymbals Eat Guitars embrace their inner Springsteen. You hear it first and foremost on “Wish,” with its E Street horns and “10th Avenue Freeze Out” shuffle, along with the punning title “4th of July, Philadelphia (Sandy.)” (Who says this band doesn’t have a sense of humor? And yes, most of them have been living in or around Philly.)

D’Agostino ponders life and death as he drives up the Garden State Parkway on “Shrine,” en route to dinner with the parents of a childhood friend, whose premature death provided the grist of Lose, CEG’s previous album. “Beam” recalls Lose’s “XR;” it’s as if these Jersey emo boys wandered into a Titus Andronicus show and lost their minds in the mosh pit, before getting back on the turnpike and driving back to their day jobs.

Pretty Years took a few listens to grow on me, but what you’ll find here is everything Cymbals Eat Guitars do best: Soaring anthems infused with energy and passion, like the opening “Finally.” Gorgeous, propulsive indie pop (“WELL.”) Swelling, stirring, romantic synth pop (“Have A Heart.”) This is the first CEG album in which the lineup remains the same as the last, and the entire ensemble gets a chance to show off its chops, from Matt Whipple’s melodic bass to Brian Hamilton’s synths to Andrew Dole’s rumbling, ominous drumming. While there’s nothing here to disappoint CEG’s fan base, this might be the perfect Cymbals Eat Guitars for new listeners to discover the band as well. It hits all the high points of its predecessors with a few welcome nods to the mainstream.