Metascore
58

Mixed or average reviews - based on 21 Critics

Critic score distribution:
  1. Positive: 8 out of 21
  2. Negative: 1 out of 21
  1. Overall, the effect is post-punk Cure with swathes of Ride in heady moments and, as overblown and unlistenable as these amassed elements might sound in your head, it's actually fantastic.
  2. 80
    Picks up where [their debut] left off. [#69, p.108]
  3. Stellastarr* pushes its new grasp of tension and release, and the album shows their increased sense of cohesion.
  4. 70
    A charged return. [Mar 2006, p.96]
  5. Stellastarr sound playful but passionate, flashing their Eighties go-feet beats ("Damn This Foolish Heart") alongside moody, Cure-style ballads.
  6. It is missing IT - that something that makes a good album into a great, standout album.
  7. A pleasurable, spun-sugar confection. [Oct/Nov 2005, p.122]
  8. Harmonies for the Haunted seems as familiar as Stellastarr*'s 2003 debut, and that's at once its chief cincher and problem.
  9. 60
    Often, it's too much of a good thing. [Sep 2005, p.137]
  10. 60
    The addition of elegiac, slower songs ensure that this post-punk quarter is only moving forward. [Oct 2005, p.85]
  11. A game of "name that influence" runs rampant from the album's start to its closing seconds.
  12. Good, but should have been better. [Mar 2006, p.109]
  13. Has the unmistakable sound of a sophomore slump. [#10, p.107]
  14. On first listen 'Harmonies For The Haunted' seems slight enough to be a collection of b-sides and discarded songs from the first album.
  15. The band ultimately lose the pop craftsmanship and hook-filled bite that distinguished their debut. [Oct 2005, p.166]
  16. What gave Shawn Christensen and his botched tonsillectomy the idea of joining the exalted ranks of Robert Smith and Simon Le Bon?
  17. For every good example of what a 21st century band can do with new wave influences, there is a pale imitation of a song you thought was cool 20 years ago.
  18. The problem is Shawn Christensen's bellowingly unsubtle vocal style, which batters every last vestige of restraint out of its way as it strains for greater heights of veins-bulging volume-as-passion.
  19. 40
    Rather desperately impersonates The Killers. [Mar 2006, p.94]
  20. Some promising tunes are weighed down by Shawn Christensen's vocals, which seem to have been invented purely to supply budding Simon Cowells with cruel one-liners.
  21. 25
    People from New York trying to sound like people from England trying to imagine what Neil Young would sound like if he were in Coldplay. [Oct 2005, p.137]

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