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Dec 7, 2011The band sounds ready for battle, but too much time is spent slogging through the swamps of defeat, many of which are adorned with forgettable choruses and melodies that arrive at dead ends, only to bash themselves against the wall hoping for some kind of merciful respite.
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Apr 11, 2011Despite good intentions, the wincing lyrics border on pandering and even exploitative, revealing little in the way of insight or palpable compassion
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Apr 14, 2011On Euphoric Heartbreak, they either pair those quirks with clumsy writing or, more often, pretend the quirks don't exist. The resulting album smears together into one gigantic well-produced stadium anthem, shining like the night sky while remaining just as inert.
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MojoMay 16, 2011Glasvegas retain their open-throated passion, anthemicism and the very distinctive Caledonian character of James Allan's voice, but these qualities are now sometimes a little lost in widescreen--like tears in rain, like synths in multi-track. [May 2011, p.105]
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Q MagazineMay 16, 2011There's no doubt Glasvegas are on the side of the angels; they just need to remember that the Devil is in the detail. [May 2011, p.108]
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Apr 12, 2011If you like rock gratuitously big and laced with soggy self-pity, frontman James Allan, and his enabler, superproducer Flood, are here to help.
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Under The RadarMay 27, 2011They have overshot the mark, however, as the overshadowing of the product by the ambition clearly indicates. [May 20111, p.84]
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Apr 7, 2011Glasvegas are not to be dismissed, but we're still waiting for an undeniable triumph from them.
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Jun 10, 2011Album closer "Change", a quiet piano-led piece which experiments with spoken word is a poignant and welcome diversion which, if Glasvegas had looked to explore it more fully, could have furnished a much stronger and more wide-ranging sophomore effort. As it stands, this one slumps. Low.
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Alternative PressApr 8, 2011If Euphoric has a weak spot, it's that Glasvegas' desperation can become overwrought. [May 2011, p.93]
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May 27, 2011Allan has a powerful voice, but it goes to waste under drowning synths and self-indulgent production by U2's Flood, who seems determined to drain the pop element out the band and turn them into a narcissistic mess.
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Apr 7, 2011There's something about the combination of their shoegazey, distorted drones and James Allan's cracked, sulky Scots brogue that leaves these tales of emotional turmoil oddly ineffectual: even at its most fancifully Spectorian, it sounds strangely insubstantial. And as with bad acting, it's not persuasive enough to make one care.
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Apr 7, 2011I worry about where they can go next with such a restrictive musical template, but here they have managed subtle refinement without sacrificing the essence of their primitive appeal.
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Apr 7, 2011A strange end to a strange album, whose mood, to invoke one of their earlier songs, is not so much "Fuck You, It's Over" as "fuck yeah, it's over!"
User score distribution:
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Positive: 9 out of 10
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Mixed: 0 out of 10
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Negative: 1 out of 10
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Apr 26, 2011
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Apr 10, 2011