“Using drums, keyboards, guitars, and various other percussion instruments, John Emanuele and Rich Cupolo weave richly textured melodies in between cascades of drums, synths, and sparse organ notes, creating a sound that puts them on par with bands like The Album Leaf or Explosions in the Sky. Whether a track contains a lush, ambient-interlude feel or a sweeping explosion of chords, emotion runs high on this disc.” — Jennifer Marston, XLR8R

“The duo’s layering of conventional instruments like the guitar, drums, and bass with electronic enhancements, made for an album that has a temporal pitch embossed in supernatural hues. The dewy synth-flaked hazes have a classic ambient touch with chord bolts that streak through them etching a gorgeous penmanship. It is one of those albums that if you knew how to make, you would. The American Dollar’s balance of earthy and airy tones is attractive. The duo do not lean more on one side than the other, which makes the graphic images permeating from their songs resound with a human voicing while piped in idealistic esthetics.” — Susan Frances, Absolute Punk

“Brilliantly, the tracks often blend into each other, leaving no space for afterthought or pause. In ‘Call’, tender swathes of melody and stuttering, trip-hop drumbeat give way to the exultant reverb-laden guitar army and boisterous Hammond that drives the raucous ‘Bump’. The best is yet to come though, and it arrives in the doublet of the strikingly gorgeous ‘Lights Dim’ and its successor ‘Transcendence’. The former recalls God Is An Astronaut in their prime, its ravishing electronic undercurrent laying the foundation for some achingly lonely synths. The latter begins with a Dave Gilmour-esque guitar squall, eventually yielding to a heart-stopping organ blast before ultimately culminating in a tender robotic harmony. Both are works of rare talent and ingenuity, taking elements from electronica and post-rock and making the pairing of the two seem somehow new and vital.” — Peter Brennan, The Silent Ballet

“EVERY song on this cd is different, interesting…each song evokes an emotion that’s introspective, artistic, and again, this isn’t a rock record, it’s more an art piece, background music, or a film score, but don’t misunderstand that reference, this cd is still cool as shit!” — Rock and Roll Experience

“Cinematic post-rock for people who don’t actually like post-rock. The Technicolour Sleep showcases the type of music that would be played during the quietly sentimental moments of movies…The band’s music fits so well in this moving and dramatic context because this post-rock duo has mastered the art of composing straightforward and emotional instrumental music. The American Dollar concentrates their efforts on developing beautiful music that reaches the depths of a variety of human emotions.” — Libby Wait,

“The American Dollar and The Technicolour Sleep encompass everything and everyone. The band’s music perfectly portrays all of life’s many stages. At the glorious highs, the lowest lows and everything in between, The American Dollar prove how truly powerful (instrumental) music can be. You simply need this band.” — Sound As Language

“Rudiments of a Spiritual Life’ blasts its way out of the speakers, effectively instilling hope that this album will live up to the band’s initial potential. The overall feeling of The Technicolour Sleep has not changed much from the self-titled debut as The American Dollar still employ a shoegaze/electronica sound along the lines of M83 or Logh, but the emotion and grandeur of the entire album rivals that of the aforementioned “War on Christmas.” As a cohesive work of art,thisis one of the most skillfully executed albums in recent memory.” — Absolute Punk

“I haven’t really viewed post-rock as experimental for quite some time, but The American Dollar’s use of electronic undertones to craft very human responses (the programmed Casio beats on “Glow”, the muted drum machine on “Long March”) is an effective extension of the genre that hasn’t been as prevalent as others, i.e. Mogwai’s dramatic changes in volume, or the victory cry dynamics of Explosions in the Sky’s guitar work.” — Michael Britten, Inner-North Media

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