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Alternative PressLound insanity is sexy; quiet insanity is sexier. [Sep 2003, p.118]
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A nuanced, ever-shifting masterwork that reveals its biggest rewards to the listener who's got 53 minutes to experience the whole thing, start to finish, and who's willing to do this several times.
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This record expects -- nay, demands -- multiple exposures. Its hidden delights and traps are equally patient.
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MojoOn a couple of tracks here he feels the need to introduce some lame house beats and equally passe drum'n'bass, which is a shame because the rest of the time he creates a vocabulary that's utterly his own. [Jun 2003, p.100]
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One of the most disturbing orchestral albums you'll hear.
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Anyone that expects the pulsating You Guys Kill Me would be better off sitting this one out, but Elliot has pulled off a tricky feat here: stripping down his sound to more orthodox "rock" instrumentation, without losing his edge.
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Disturbing, complicated, and enthrallingly strange, The Mess We Made requires patience, and, ideally, an already established taste for Elliott's previous ambient output.
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The WireDelicacy replaces density here, but his capacity to unnerve remains on these sedately mournful chamber pieces. [#231, p.74]
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This music sounds a lot like something Edward Scissorhands might compose if he could just play the damn piano.
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The abject despair of The Mess We Made can become tedious, and, more than most artists, Elliott depends on a listener who is willing forgive him his lack of subtlety.
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UncutAn LP of spooked delicacy and wheezy, wayward charm. [Jun 2003, p.104]
Awards & Rankings
User score distribution:
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Positive: 3 out of 4
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Mixed: 0 out of 4
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Negative: 1 out of 4
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AntonisLMay 31, 2003