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At least these songs have an attractive, breezy lightness, unlike the second half of the album, which sounds maudlin and burdened by the desire to express something profound.
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The album serves as a classic case of frontloading and one gets a sense that the first six songs would have made a better standalone EP, buying the band yet more time to craft something a little more interesting.
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It’s refined, poised, sweater-and-scarf music to settle down with in advance of winter’s messy hysteria.
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It’s dependence they’re declaring, not independence, and they’ve produced a thoroughly dependable album to ease their listeners through the bittersweet withdrawal of autumn.
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MojoAt best, Oye and Boe capture loniness in a saue way and both are wonderfully fluid guitarists. But they can also be overly precious. [Nov 2009, p.92]
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UncutIt's craftily composed, and on individual tracks like "24-25," sparely beautiful but cumulatively lacking some of the spice of their side-projecvct affairs. [Nov 2009, p.90]
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Under The RadarAll the typical Kings of Convenience ingrediants are here, but they don't add up to quite the right recipe. [Fall 2009, p.59]
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OK, their lightweight bossa nova songs grate, but when they go all funereal, you get great lines such as “We move like knives through scars on land.”
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Q MagazineErland Oye and Eirik Boe's voices cannon off each other appealingly enough on 'Boat Behind,' but the album drifts in the manner of nick Drake out-takes and by the time you've waded through 13 dawdling tracks, it's a struggle to recall any of them. [Nov 2009, p.109]
Awards & Rankings
User score distribution:
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Positive: 20 out of 23
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Mixed: 3 out of 23
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Negative: 0 out of 23
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Sep 7, 2020
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Jan 17, 2013