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Something much bigger than last year's Girls Can Tell, the breakthrough album skeptics like me took for a fluke peak.
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Could be the Strokes in 10 years--if they work hard. [Listen 2 This Supplement, Aug 2002, p.14]
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100Meticulously choppy and frequently free of inherent genre boundaries, it's an askew masterpiece of brains, brawn, heart, and soul.
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100Spoon rebounds from the insurmountable challenge of following up the colossally brilliant Girls Can Tell with an equally impeccable album.
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If this isn’t a breakthrough album for them that takes them to the top of the heap, seeing them showered with money, women and limos, well, then the consumer and music fan is not doing their job.
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90Moonlight, which grows more and more likeable with repeated listens, is Spoon's strongest effort yet, topping 2001's Girls Can Tell and even 1998's A Series of Sneaks.
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Will be among many year-end best-of lists, and deservingly so.
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90This is simple music, driving music, perfect music for getting a good bath from the asinine perils of nu-metal and modern rock.
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90The complexity and depth of the songs has increased; the band sounds less like they're trying to channel The Pixies, and more like they're reaching toward the sublime.
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89Spoon's latest is their magnum opus to date; it takes a scalpel to the highlight reel of their career, cutting and pasting a 35-minute tour de force that ends too soon.
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80Spoon's secret is that this tension is never quite released, the martial beat never breaks down, full rock music never quite kicks in. [Oct 2002, p.120]
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80Singer-songwriter Britt Daniel's gift for obtuse yet engaging melody is now where it ought to be: up front. [#9, p.155]
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Even the album's sparest moments feature Spoon's much-heralded knack with catchy melodies and hooks, even if songs such as "Don't Let It Get You Down" would be even more memorable with a slightly more fleshed-out approach.
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80Yet another brilliant pop record for the college radio crowd.
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80While every cut is identifiably Spoon and the album will satisfy hard-line fans of the band, a fiery R&B element is now a significant component. [#55, p.88]
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It’s that rare record that’s equal parts innovation and familiarity, or what one might refer to as a perfectly designed and executed experiment in indie aesthetics.
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Daniel diminishes his melodies to fit the demands of arty cadence throughout Kill The Moonlight's first half, which makes the more generously melodic second side not just welcome, but inspiring.
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The arrangements, referencing indie-rock more than participating in it, pile on heft to the small-life tragedies: Matt Brown's sax toughens up Spoon's welterweight ranking, while [Eggo] Johanson's piano gives it roots, rag, and bonus rhythm.
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Built mainly of solitary guitar/keyboard figures and elementary rhythm parts, the songs are too direct for this to be Daniel's Kid A, but he's obviously enjoying tweaking people's expectations.
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70The result is indie-rock as passive-aggressive blues implosion. [Sep 2002, p.128]
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With Kill the moonlight, Spoon complete their transformation from ragtag rockers into beat-driven post-punks.
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User score distribution:
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Positive: 25 out of 27
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Mixed: 1 out of 27
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Negative: 1 out of 27
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