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Wham, bam, rock and glam, it's Marshall stacks turned up to 11 and Kelly riffing away in the steps of a heap of bands who do it better.
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Pull the Pin possesses nothing more than stale and horribly bland rock that will most likely leave even die-hard fans disappointed.
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Pull The Pin has urgency, a sense of menace and though it deals with issues like war ('Soldiers Make Good Targets') and the London bombings, there's little of the sanctimonious rhetoric Stereophonics of old were guilty of spouting.
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It's business as usual for Britain's most hamfisted rock band.
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The album has undoubtedly been an opus of dedication but essentially there is no spontaneity.
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A brave new direction it isn't.
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Absolutely without spark and wholly forgettable.
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SpinSolid and well crafted. [Nov 2007, p.135]
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UncutIt's harder to fault the tunes, however, smeared thick with QOTSA sludge or pretty 'Dakota' clones 'It Means Nothing' and 'Daisy Lane.' [Nov 2007, p.123]
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MojoThe whole thing sounds effortless, and not always in a god way. [Dec 2007, p.109]
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Pull the Pin might be going for the uncluttered "production" of older Rick Rubin, but instead it cops the sterility of newer Rick Rubin, each song lumbering on a chassis of waterlogged tempo and Jones' wooden melodies, begging for just about anything to grab you.
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A strong taste of the lack of direction is evident as the final seconds of 'Drowning' trickle away and Jones’ wails turn distinctly, gratingly off-tune as they fritter off into oblivion.
User score distribution:
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Positive: 24 out of 29
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Mixed: 2 out of 29
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Negative: 3 out of 29
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MikeLAug 29, 2009
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ChrisKJul 20, 2009
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EwenSOct 11, 2008