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Carried by his gruff voice, Foundling's all warm arrangements and real emotion.
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The sense of abandonment hinted in the title of David Gray's second album in less than a year, Foundling, could be a reference to the work's minimalist nature.
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If this release is David Gray's self-loathing moment of pure, unabashed misery, that's OK. Besides, where would all of that appeal go if he ever decided to get happy?
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MojoBare bones it may be, but it's still recognizably David Gray. [Sept. 2010, p. 102]
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Foundling sounds as if Gray is alone with his guitar in the wee hours, whispering into a handy microphone. But if we've heard it all before, it doesn't mean Foundling isn't high-quality adult-pop.
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This album may be out of time, often boring, but is just too competent to lend itself to any fun.
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David Gray doesn't really purport to be anything other than a contemporary folk-pop singer, and Foundling finds him doing what he does best.
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It's a promising start from a guy whose tastefulness too often trumps the spirit of experimentation that distinguishes him from his soft-rock peers.
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Q MagazineHe's getting more interesting with each release. [Sept. 2010, p. 116]
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The songs are pretty, well-written and well-constructed, but the album as a whole lacks the vitality that would give it necessary variety.
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Indeed, at some worrying points, Gray sounds like he's on the point of expiring, so croaky and listless is his voice.
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Gray tries to bring some color to the album with his terrific, weathered tenor, but there's only so much he can do in performing material this staid.