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As immediate as Life and Times isn't nearly as diamond-hard as "Copper Blue," which is a great part of its appeal: it flows naturally, the music never pushes, it settles, comfortable in its own skin.
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Alternative PressThe simple, muscular rock and folk are matched in directness by lyrics that keep returning to troubled relationships, and risk the occasional awkward line to make their point. [May 2009, p.121]
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Mould addresses the years he spent playing a downward spiraler, gay-club cruiser, and spotlight needer, then gets back to his best role: just being Bob Mould.
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He's alternately reflective, rueful and accusatory, and he combines all three on 'I'm Sorry Baby, But You Can't Stand in My Light Any More.'
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The result is a compelling conversation between the two sides of Mould's persona: the graying philosopher and the brazen noise boy.
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MojoMostly, though, the album plays to Mould's strengths. [May 2009, p.98]
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Life And Times is unchallenging pap. But it's furnished with the odd line of lyrical craftiness and melodies that, on the whole, manage to keep the stabilisers on his career because (as always) they make the seemingly untenable emotions of their writer sound tolerable.
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An eclectic, at times explicit, exploration of love, loss and lust, it's the work of a skilled songwriter comfortable in his own skin and canon.
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Reminiscing on lost love and lust, Mould impresses with his songwriting skills.
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It's a contemplative work setting the stage for Mould's upcoming memoir, whose hooks will for once have to connect without the almost comforting bark of his vocals or buzz of his guitar behind them.
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So even if these aren’t Mould’s actual “Life and Times”, he relays them with a conviction that, although occasionally over-the-top, makes them live and breathe as if they were his own.
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Q MagazineToo much of the material is ponderous and plodding. [Jun 2009, p.128]
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The storm of guitars here is proof enough that he's still alive and kicking.
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The miserable bastard can still write melodies that make the medicine go down, and ultimately, that's his redemption.
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Life And Times arrives on "Workbook’s" anniversary, but it continues down the path established by 2005’s "Body Of Song," Mould’s return-to-basics rock album after "Modulate."
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UncutA grown-up record that hints at a more excitable wayward past. [May 2009, p.91]
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Under The RadarMould's classic works cemented his legacy. Life And Times proves he is still vital. [Spring 2009, p.72]