Noise, particulate and small, combed through Leithauser’s demented slur and the band’s long-neglected mastery of smothered dichotomies. Much of this was a staple of The Walkmen, but with A Hundred Miles Off, they pull of a Toulouse-Lautrecian thumbing of the edges of their sound, a bewildered realism via discordant, inhumanly fleshy melody.  Full text...

Too much of A Hundred Miles Off sounds enervated, which makes the rare uptempo tracks—like the zippy, shimmering "Good For You's Good For Me" and the raucously polyrhythmic "Emma, Get Me A Lemon"—stand out like mountains at the edge of a flat desert landscape.   Full text...

Sweet album indeed. Check it out.  Full text...

Sadly, there isn't much on A Hundred Miles Off that leaves a lasting impression.   Full text...

The album may not be the landmark smash or breakthrough many were banking on, but some good will come of this.  Full text...

A Hundred Miles Off furthers the band's harsh, spiked-guitar side while sacrificing their former bleary-eyed bliss.  Full text...

After two strong albums, the group should be hitting their stride, but instead it feels like they’ve just fallen into step.   Full text...

A Hundred Miles Off needs a single or a hook to balance its trebly extremes, and Leithauser's good-ol'-boy tenor has lost some of its edge, tripping too easily into the whiny nether regions. The members of the Walkmen are endearing in that prep school-kid-gone-wrong kinda way -- you can't tell if they're brooding over the next rhymed couplet or neck tie. But on their third effort, all that clean-cut swagger has worn a little ragged.  Full text...