Compass - Jamie Lidell
Compass Image
Metascore
76 out of 100

Generally favorable reviews - based on 30 Critics What's this?

User Score
8.7 out of 10

Universal acclaim- based on 6 Ratings

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  • Summary: The fifth album for the British singer was produced by Beck and features a guest appearance by Chris Taylor of the band Grizzly Bear.

Critic Reviews

Score distribution:
  1. Positive: 26 out of 30
  2. Mixed: 3 out of 30
  3. Negative: 1 out of 30
  1. All Music Guide
    90
    As on any good Beck record, Compass finds time for everything from R&B to hard rock to the type of gut-bucket experimental rock that Tom Waits would be proud of. The big difference is in the vocal performances. It's clear that Lidell is wearing his heart on his sleeve here, and we see a portrait of a person, not a personality.
  2. Drowned In Sound
    80
    It's true Lidell darts from one scene to the next, and not every moment earns its place. Yet it all makes a curious kind of sense in Compass' vivid canvas.
  3. New Musical Express (NME)
    60
    Britain’s foremost whiteboy funkateer has learned enough since his 2005 major label debut ‘Multiply’ for ‘Compass’ to pull off a neat trick. With his heart as his guide, Lidell gives us a tour of soul through his geographically-removed ears.
  4. Dusted Magazine
    30
    To wit, what irritates most about Compass is the way it assaults the listener with wave after wave of sonic winks, of moments intended to be witty or clever that instead fall flat. Busy and fussily filtered at every turn, I guess it’s ‘crazy’ sounding or something, but there’s nothing communicated in the slightest.

See all 30 Critic Reviews

User Reviews

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Score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2
  1. ballinbeastauto
    10
    This album is Maroon 5 on LSD. and I love it. lots of shots are fired, and although many of them miss the mark, the moments of brilliance are well worth wading through the interstitial, often cluttered, but usually thoughtful r&b/acid grooviness. the mood of
    compass shifts from neurotic and dark acid funk to elated church-soul, ultimately painting Lidell's complicated psychology. The highs portray an almost campy exhuberance while the lows are as dense and complex as the many devices he uses to modify and deconstruct his clearly virtuosic voice. indeed,
    as Lidell croons "we dont need no armor for protection", the listener is reminded that there are few pretenses in the way of the vision Lidell seeks to convey, or rather, unapologetically confesses. above all, the beat, when, although intermitently, firmly in place, carries us through some very catch hooks and funk **** the album is definitely worth investing some time into, as I'm sure every listener will be able to take something worthwhile away from the wide and varied catalog of songs that compass has to offer.    … Expand
  2. trashkozel
    8
    In 2010, Jamie Lidell found a new direction. And it was appropriately called Compass. Representing a perfect blend of all the styles he’d ememployed in his career to date, the album paints a thick, gritty picture from the outset. Opener “Completely Exposed” begins with Lidell singing over a heavily affected beat-box before the grimey, lurching track drops in, featuring some kind of sampled riff that sounds like a saw-player picked up a two-by-four on accident. Lidell intones “I don’t wanna be closed, but opening up has left me completely exposed”. Whether the lyric references his new-found fame, or his production collaborations on the record (including Beck, Grizzly Bear’s Chris Taylor, Lindsey Rome, Robbie Lackritz), the vulnerability seems to be doing him some good. “Your Sweet Boom” follows, an exceptional song in concept and execution, even managing to employ a pitched-down verse vocal and still maintain emotional substance (that is some kind of feat, let me tell you). As Lidell sings “We don’t need no armor for protection”, the recurring theme of vulnerability is overtaken by a rallying of the troops, swept up in a swell of shimmering synths and ascending vocals.

    The pacing on the album is diplomatic, spreading the highs and lows evenly throughout, and while it makes for a distributed listening experience, I feel like some of the tracks could have been repositioned. “She Needs Me”, while a compelling slow jam in its own right, totally wastes the momentum built by “Your Sweet Boom”. Fortunately “I Wanna Be Your Telephone” rebounds quickly with a blip-bloopy boogie and sampled scenery, followed by “Enough Is Enough”, a gem of a tune that sounds like a young Stevie Wonder revving up the Sesame Street block party. The stomp-clap heave of “The Ring” features another unrecognizable sound (vocal? guitar?) squeezing out a squirmy, dusty riff. It’s one of many examples of the truly unique and captivating textures Lidell creates on Compass, often allowing him to prop up potentially bland melodic moments with sonic intrigue.

    Another album highlight arrives with the twelfth track, “Coma Chameleon”, which serves as an example of everything Lidell does best. The huge, Zeppelin-esque drum intro gives way to Rhythm Nation-style churchbell hits. The understated chorus creeps along an eighth-note bounce with horn chops and a devious earworm hook: “Coma chameleon If you ever wake up you will see what you have done”. The song is a stylistic achievement, simultaneously showcasing Lidell’s studio creativity, vocal panache, and songwriting ability elements that are present all throughout Compass, but don’t consistently enjoy perfect alignment like they do here.

    Ultimately, Compass isn’t a perfect record, but it is a bold statement. Having tried his hand at genre-homage, Lidell seems to have found the blueprint for an effective marriage of his electro-producer past and blue-eyed soul frontman present. The results are compelling and boast gobs of potential. Here’s to hoping Lidell shares my view of Compass as a singular success, and moreover, continues down this trail that he is truly blazing all on his soulful lonesome.    … Expand

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