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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.
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Throw Pennington's arch, quivering voice on top and what you have is a theatrical overload, too calculated and exhausting to really impress.
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Q MagazineFor 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]
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MojoIt's full-bodied baroque. [Oct 2008, p.109]
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Under The RadarEntanglements 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]
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Pennington’s soaring, Rufus Wainwright-esque croon may be the most distinctive element of the record but also one of its greatest weakness.
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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.