Rolling Stone - 3.5 stars out of 5 -- "[Wiht] raw-hearted bursts of bald guitar churn backing lyrics that hunger for meaning in terms that'd be corny if the music didn't hit so hard."
Spin - "GOODNESS feels like that very rare sophomore achievement where a fresh, already pretty great band becomes somehow cosmically greater..."
Pitchfork (Website) - "The percussion is so relentless, the guitars so urgent, the voice so direct, that songs like 'Goodness Pt. 2' and 'Piano Player' feel like something that could get you out of bed in the morning."
Personnel: Chris Hoffman (vocals, guitar); Christian Holden (vocals, piano); Jacob Lfe, Nick Berger, Noel'le Longhaul, Alyssa Kai (vocals); Ben Gauthier (guitar, percussion); Sam Frederick (percussion).
Following up their critically lauded release Home, Like Noplace Is There, Massachusetts indie trio the Hotelier deliver another impassioned, yet refreshingly minimalist effort in 2016's Goodness. While dissecting his own barely filtered personal minutiae, frontman Christian Holden also manages to craft an impressively nuanced and wholly engrossing set that seems to broadcast equally from brain and gut. Beginning with a spoken-word poem titled after an unidentified coordinate ("N 43ø 59' 38.927" W 71ø 23' 45.27''), Goodness constantly swells and shrinks in size, using recurring instrumental motifs, intimate interludes, and just the right mix of bittersweet warmth and dramatic exaltation. The weary tension of midtempo tracks like "Soft Animal" and "End of Reel" are offset by concise rockers like "Piano Player" and the wonderfully sparse "Goodness, Pt. 2." Whether or not the Hotelier fully identify with the emo-revivalist tag that has been thrust upon them, they've created an intense and affecting rock album that can be accessed and understood across genre lines. ~ Timothy Monger