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Some listeners may pine for the less streamlined, less electronic, arguably more personable style of their debut, which after all peddled a distinctly different shade of retro-pop nostalgia, but those willing to move with the times (or rather, the 20-year revival cycle) will agree that the 'Beat have crafted another winner.
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The glee that infused that first album has been swamped by endless staccato synth or piano riffs, all of which sound like a score of minor hits from a generation ago.
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Q MagazineThe sextet have simply folowed their instincts and made a gloriously upbeat pop collection, packed with kitchen-sink productions and thumping choruses, invariably underpinned by Rasmus Nagel's stentorian keyboards. [Apr 2010, p.106]
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One wonders if those responsible for this platter of past-perishable pop mimicry, these clichéd regurgitations of ubiquitous motifs, are indeed the same Danes who wowed admirers of sparkly melodies and insatiable hooks only a single springtime equinox ago.
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So far, so deliriously cheesy. Unfortunately, the remainder of The Beat Is... lacks any sparkle or panache, with the band falling foul of a very current musical disease; the Auto-Tune obsession.
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The result is stronger than you might think, but too inconsistent and devoid of depth to stand out on a battlefield where Gaga rules all.
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UncutMaybe the cycles of nostalgia may yet surprise us, but the group's puppyish enthusiasm can't redeem one of the less charming periods in pop history. [Apr 2010, p.81]