Old Money - Omar Rodriguez-Lopez

Generally favorable reviews - based on 11 Critics

Critic score distribution:
  1. Positive: 6 out of 11
  2. Negative: 0 out of 11
  1. Old Money is so far-reaching, it will likely piss off some of his fans while making others nearly swoon with its unwieldy rockist excesses. As for winning new fans to his cause? You bet.
  2. Nary a fragment of the 10 compositions sounds even a bit out of place; new ideas are explored, and not at the expense of the listener; and, perhaps best of all, a mongrel of a talent finally lets his instincts to ROCK REALLY FUCKING HARD take over.
  3. This disc is heads-and-shoulders above his contemporaries. [Mar 2009, p.116]
  4. It’s not necessarily an obvious headphone album, but--perhaps due to the lack of vocals--there’s a vast space in which to get lost, found and lost all over again.
  5. 70
    This album is truly an odyssey where if a picture paints only a thousand words, these songs can paint an entire film.
  6. This is an album that will be a cool listen for those, like me, who find the Mars Volta interesting but often frustrating. It will also appeal to fans of instrumental rock, but the lack of vocals will still keep a more general audience away.
  7. Old Money is as trippy and fantastical as Rodriguez Lopez's work with Mars Volta without the beat-you-over-the-head prog fury and yelped vocals intensity that causes much of Volta's music to bend under its own pretentious weight. [Winter 2009, p.77]
  8. It's just as easy to loathe this record as it is to love it, but enough moments of merit exist to stifle any doubts over the quality of Rodriguez-Lopez' output as a solo artist.
  9. 60
    This bombastic, cacophonic, but endlessly impressive set would make a fine soundtrack for dancing madly among the wreckage [of capitalism]. [Feb 2009, p.113]
  10. 60
    Old Money is rather more sharply honed--indeed, only the lack of vocals distinguishes this from a Mars Volta record. [Feb 2009, p.93]
  11. Once again it's a showcase for some dextrous prog-jazz metal guitar work that on occasion veers dangerously close to tuneless skronking. [Mar 2009, p.104]

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