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All We Grow is not an album for instant gratification, nor is it an album to relegate to background music. Rather, this is a record to study and indulge yourself in--it deserves every bit of your attention.
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Q MagazinePieced together over a two-year period, the results are often stunning. [Oct 2010, p.104]
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This is intimacy on a purely aural level, the ultimate headphones album.
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Carey almost certainly has a better album in him, but as a 40-minute introduction to the man behind the drumkit, this one is an assured and undemanding success.
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All We Grow is still a remarkable debut, a perfect companion for these upcoming leafy fall months, and a huge indication of really good things to come.
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UncutLike Arthur Russell, he marries such influences [of Steve Reich and Terry Riley] with an off-kilter pop sensibility. [Oct 2010, p.87]
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Down to the near-microscopic details, down to the faintest rough edge on his smoothest vocal landscapes, down to the last moments on the final track: it's a self-sustaining, well-rounded album that stands well without Bon Iver-especially without a drum solo.
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Not every song achieves such effortless drama. At times, Carey comes across as more a student than a master. He has obviously consumed a tremendous amount of music, but he hasn't fully digested some of his influences.
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It's also nice to hear vocals like Carey's which gently suggest a Brian Wilson sense of harmonizing instead of fully pushing the point--refreshing given so many of Carey's compatriots in indie-leaning rock music.
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Listening to the work heard here, it may be a bit premature to file Carey's work beside some of the musical touchstones suggested by his record label's press corps (Bill Evans, Talk Talk), but it does suggest a good start and a solid grasp of the spaces that can be created by music.
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Carey has made a debut record that is both solid in its own right and hints at the promise of great things to come.