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87An elegant masterpiece of unabashed Anglophilia, all slow-motion shoegazer guitars chiming like beautiful bells of doom and icy, disaffected vocals that sound like the Psych Furs' Richard Butler minus the three-packs-a-day larynx damage.
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Echoes of classic U2, Echo & the Bunnymen, and Swervedriver resonate throughout.
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Longwave aren't so much groundbreakers as they are purveyors of haunting, earnest pop. [Apr 2003, p.80]
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70Even in spite of their obvious knack for a beast of a tune that knows no indie fear, they do a cracking job of getting peculiar on us as well.
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70Bold, stirring and so unfashionable it just might work. [Mar 2003, p.114]
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A full three-fourths of the record feels more like the work of a band that hasn't yet staked out a sonic identity.
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A little blood and dirt and humor might have catapulted this album into greatness.
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60Though this music could easily be viewed as Longwave's take on Interpol's take on Coldplay's take on Radiohead, it isn't that derivative or boring.
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60Often dreamy, sometimes rockin', but rarely more than pedestrian.
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40Longwave sound more British than Strokes-ish, with a mild talent for writing melodies that demand your attention. [Apr 2003, p.125]
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40Where the big boys tick and twitch, Longwave merely plod. [Mar 2003, p.111]
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40Taken on their own, tunes like "Pool Song" and "Tidal Wave" are hip songs to listen to while getting a tan. In the midst of a 12-song record though, they sink under the weight of their own drone.
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37I just always felt comfortable in my thinking that one Toad The Wet Sprocket was more than enough to fulfill a specific emotional and intellectual niche. Am I wrong?
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