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Blood//Sugar//Secs//Traffic Image
Metascore
74

Generally favorable reviews - based on 8 Critic Reviews What's this?

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  • Summary: The second full-length release for the Pittsburgh rock band features guest appearances from Tim Midyett of Silkworm and Bottomless Pit, and Joe Casey of Protomartyr.
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Score distribution:
  1. Positive: 5 out of 8
  2. Negative: 0 out of 8
  1. Jun 21, 2016
    90
    The Gotobeds are as incendiary (and/or combustible) as ever.
  2. 80
    Disjointed it may seem, but the pervading sense of chaos and feel good factor tie each track on Blood // Sugar // Secs // Traffic together perfectly, coming to a frothy, tumultuous head on closing cut "Amazing Supermarkets". Arguably the record’s highlight, it’s almost seven minutes of anarchic garage pop, mirroring in miniature the album it concludes effortlessly.
  3. Jun 22, 2016
    80
    It’s all attitude, baby, and on their second album Blood // Sugar // Secs // Traffic, it’s out in spades, for everyone who remembers when rock music rocked, politics and punk could live together without cancelling one another out (or making one more about the other), and bands could dig into a specific influence without being too obvious about it.
  4. Jun 23, 2016
    70
    This is a solid, fun-loving post-punk record that definitely leans heavy on the punk.
  5. Jun 21, 2016
    60
    It seems to exist almost in spite of itself, careening energetically down paths it desperately wants to avoid. To that extent, Blood//Sugar// Secs//Traffic is a cacophony of contradiction, but one very much worth investigating.
  6. Jun 21, 2016
    60
    The Gotobeds execute a formula of beer-drenched reckless abandon, tense odes to the unloved and loveless. The result is a smart, sharp record to soundtrack the end of the world (or maybe even just a hungover Sunday afternoon.)
  7. Jun 23, 2016
    56
    Blood // Sugar // Secs // Traffic smolders with emotion, and yet Kasan’s aloofness—even when he’s shouting—sounds like a protective mechanism against truly letting himself go. Framed by the derivative music, Kasan sounds as removed from his feelings as the rest of us do expressing them via memes from inside the stultifying safety of our digital cubicles.

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