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Good Shoes have home-produced a record worthy of similar plaudits; there’s both hope and future here in abundance.
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No Hope, No Future doesn’t always play to the band’s proven strengths, but it shows that Good Shoes are a thoroughly independent, even contrary band that's unafraid of change, even when it’s difficult.
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With no delusions of grandeur attached to a debilitating hype machine, Good Shoes seem happy remaining cranky young men in their niche, keeping their less-than-stadium-sized but fervent crowd on their toes.
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The main problem with No Hope, No Future, though, is that very little here stands out above the accepted and expected norm. At times, there's a feeling Good Shoes have almost resigned themselves to a destined state of mediocrity.
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It sounds like the Good Shoes are tired and mildly sick of it all--and unfortunately, it’s catching.
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MojoWhen Jones starts singing about Clapham over the clipped, welter-weight indie of this quartet's second studio album it begins to seem a curiously south-eastern English rock vision - the clean guitars and Cure-style vocals suggesting a lighter shade of Bloc Party. [Feb 2010, p. 92]
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Q MagazineAlthough reaching a touching peak on melancholic closer City By The Sea, two albums in Good Shoes still lack a defining personality of their own. [Feb 2010, p. 107]
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A darker album, a slightly clumsier album, but an album with a strong unifying themes and a few songs worth stepping away from the bar for.
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London quartet Good Shoes offer little to get flustered over with this sometimes dire, but mostly mediocre second album.
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It's a moment to rejoice on an album that just feels flaccid in comparison to the youthful debut.
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UncutAs the title suggests, No Hope, No Future is rather short on vim. The wiry, Wire-y dynamics are mostly presnt and correct. [Feb 2010, p.86]