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Nothing’s Lost is a more stately affair, flaunting van Petegum’s growth as a producer without losing his child-like talent for awkward emulation.
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80Post-modern pop hasn't sounded this good since the Postal Service. [Dec 2004, p.110]
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80Nothing's Lost is heavier, denser and in its best moments, verges on pop nirvana.
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Think the Postal Service, but with more instrumentation and experimentation. [Feb 2005, p.94]
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80Nothing's Lost is slick and rich, packed with melody and rhythm.
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There’s no getting around it: this sentimental, electronically-hackneyed glitch-pop shit can be remarkably effective.
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Styrofoam represents the part of the Morr Music roster where the first three letters of the label's name might as well stand for "middle of the road."
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The songs are stronger than ever. [Apr/May 2005, p.139]
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A solid, if not predictable emo-tronic excursion.
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There's not a moment on Nothing's Lost that justifies the attention of any of his contributors. [#8, p.117]
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It simply lacks even the remotest kind of emotional weight, favoring that emo-lite, predictable kind of melodic progressions that make you swoon the same way a hot muffin on a cold day might.
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33Nothing's Lost is a well-meaning record that just got its priorities mixed up. These tech'd-up tearjerkers can out bench press anyone in terms of sonic fodder, but the album is whiny, transparent, and a colossal hodgepodge.
User score distribution:
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Positive: 3 out of 3
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Mixed: 0 out of 3
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Negative: 0 out of 3
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ArmandoA10
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erikdiscostusupershow8
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NeilG8