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Aug 8, 2013The songs so consistently mine the same material that it starts feeling like a portrait of our era as a deeply sad one, where lost souls abound.
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MagnetMar 15, 2013Phillip Ekstrom's vocals echo the tortured moan of Robert Smith with a trace of Ian McCulloch's attitude, but he never manages to find his own voice. Except for the implied reggae pulse on "Blues," neither does the band. [No. 96, p.56]
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Mar 14, 2013The album is an undoubtedly fine affair. One just sometimes wishes Ekström might cheer up a bit
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Mar 14, 2013Hit the Waves is so heartfelt as a pastiche of '80s alternative music that it almost muscles its way into being brilliant.
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Mar 13, 2013Hit the Waves is both the darkest and the glossiest Mary Onettes record to date. That tension between style and content creates a few engaging moments, but doesn’t offer much for listeners who haven’t already subscribed to the band’s ’80s rehash.
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Mar 11, 2013Glossy production adds a haze of late summer mist to some cleverly realised songwriting and Hit The Waves is an album that stands on its own terms musically, without its needing to explain itself or its influences.
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Mar 11, 2013Hit The Waves offers little in way of innovation, an unthreatening album to Sigur Ros and The Knife’s releases later this year, but The Mary Onettes are perfectly happy to look backwards.
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Mar 11, 2013The combination of strong songs, Lissvik's inspired production, and the chances they take (and nail every time) make this the best Mary Onettes record yet, and the first to sound like they have their own voice.
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Mar 11, 2013This is an album that, as elegant and refined as it is, will be forgotten about soon enough. That’s not to say it doesn’t deserve to be extolled for the hard work alone.