• Record Label: Tomlab
  • Release Date: Sep 9, 2008

Generally favorable reviews - based on 12 Critics

Critic score distribution:
  1. Positive: 5 out of 12
  2. Negative: 0 out of 12
  1. While certain details are kept shrouded, the acts and emotions are hyper-real, and the story's arc is plenty navigable.
  2. As dazzling as Entanglements can be, its polish and uniqueness makes it more polarizing than anything Parenthetical Girls have done before.
  3. Parenthetical Girls consists primarily of Zac Pennington's unmistakable vocals, and they are given a musical context that emphasizes their stark beauty on this album. It was well worth the three years of effort on his part.
  4. Conceptually, Entanglements has been done before, but lyrics are reprised and musical sentences are repeated in such a way that it creates a singularly cohesive, linear narrative piece.
  5. The record is perhaps a more extreme a transformation than that of Patrick Wolf.
  6. 60
    Zac Pennington sounds a bit pubescent himself as he sputters the record's bizarre, hard-to-follow story, but the impeccable arrangements, wormy melodies, and jarring carnal imagery get the point across.
  7. Throw Pennington's arch, quivering voice on top and what you have is a theatrical overload, too calculated and exhausting to really impress.
  8. Q Magazine
    For album number three he's assembled a trio of multi-instrumentalists and vividly succeeded in realising some of his early "Spectorian" ambitions. [Oct 2008, p.149]
  9. Mojo
    It's full-bodied baroque. [Oct 2008, p.109]
  10. Under The Radar
    Entanglements is wildly ambitious and refreshingly out-of-step with its indie peers. Unfortunately, such a sustained state of effusive mania makes the album's 32-minute running time feel infinitely longer. [Fall 2008, p.82]
  11. 50
    Pennington’s soaring, Rufus Wainwright-esque croon may be the most distinctive element of the record but also one of its greatest weakness.
  12. Its vaguely experimental ambitions and occasionally interesting musical flourishes don’t do much to separate it from the mass of baroque indie already circulating, amassing often unwarranted critical acclaim.

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