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SpinOn these subtly lovelorn songs, his voice quavers with a grounded, lived-in authority. [Feb 2005, p.92]
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‘Emoh’ is revealing at all times, but utterly dignified throughout, and it’s a wonderful solo record.
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Emoh is one of the first surprisingly great albums of 2005.
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It's a mature, accomplished statement for one of indie rock's most reliably miserable men.
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UncutHe delivers 14 sweetly sombre neo-folk tunes that reveal just how subtly pervasive the man's influence really is. [Mar 2005, p.108]
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While this new batch of songs is pleasant and often charming, they're not as memorable or passionate as Barlow's best.
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14 songs focused intently on melody and chord progressions, not licks or repetitive riffs or tricky drumbeats.
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Emoh is full of quiet lyricism and Nick Drake beauty.
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The album has a sonic cohesiveness that makes for a consistently pleasant listening experience.
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Barlow fails to write an indie rock standard, something he usually manages once per album, but EMOH still exceeds expectations.
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As far as songs go, Barlow hasn't been this good in years.
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New Musical Express (NME)Where once lo-fi underachievement stifled Barlow's outsider pop genius, 'Emoh' abandons dictaphones to the dustbin and sees Lou documenting his wonderful, incisively literate pop songs with something resembling sheen. [5 Feb 2005, p.51]
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EMOH is a bit rambling, and could stand to lose a song or two so as to not detract from the its power, but considering Barlow's sometimes egregious prolificacy, these 14 songs are about as polished as he gets.
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But while it's appealing to hear Barlow sound so contented as he approaches middle age, Emoh can't help but lack in the emotional immediacy so typical of Barlow's earlier, non-eponymous work.
User score distribution:
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Positive: 17 out of 19
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Mixed: 1 out of 19
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Negative: 1 out of 19
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jasoncApr 24, 2005easy to dismiss at first listen i've grown to love this set of songs.
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[Anonymous]Mar 31, 2005
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allenmMar 24, 2005