The Invisible Man - Mark Eitzel
Metascore
75

Generally favorable reviews - based on 12 Critics

Critic score distribution:
  1. Positive: 10 out of 12
  2. Negative: 0 out of 12
  1. This time out, Eitzel has built his arrangements around spare keyboard lines, atmospheric electronic samples, and percussion loops that blend with his voice and acoustic guitar to create an effect that suggest a more spare, organic version of Portishead, or a Jon Brion production that's stuck in a blue funk. But the new surroundings suit the songs quite well...
  2. Eitzel does doomed introspection with more wit than the average bear, however, and more tunefully, too.
  3. 70
    His finest album since American Music Club split. [June 2001, p.145]
  4. An album of mature pop that's more good-humored than its moping, acoustic-over-electronic arrangements let on. [Aug 2001, p.86]
  5. 40
    Nowadays, his voice has mellowed into a fearless croon that seems to suggest a down-home Boy George. [Jun/Jul 2001, p.108]
  6. 80
    Eitzel is a far cry from Dido, but he still manages to find a proving ground where his nicotine-stained fingerpicking and tales of emotional erosion can make an uneasy peace with the precision of the Portishead crowd. [#50, p.90]
  7. While the sound is often thick -- layers of dewy guitars, keyboards, old organs, bass, drums/beats -- it's always concerned with the "space" of the piece, such thickness often casting insular environments in which Eitzel's voice can wander lonely.
  8. Again shows that Eitzel is a total gem of a singer/songwriter.
  9. While the San Francisco-based songwriter is still crafting unmistakably Eitzel-esque gloom tunes, his latest, The Invisible Man, is his most eclectic outing to date, veering from the low-key electronica of the opening track to the understated atmospherics of "Sleep."
  10. Eitzel's songs, at their best, could serve as fodder for the next Sinatra, should such a crooner emerge from a dingy bar on the far side of town. As performed by Eitzel himself, his compositions resonate with a mix of existential melodrama and black humor that cuts deep to the bone.
  11. A typically bruised and beautiful collection of lovelorn ballads, Raymond Carveresque character studies and darkly romantic confessionals.
  12. Eitzel’s written with genuine warmth before, but it’s been several albums since he’s backed it with sounds that stand on their own this well.

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