Uncanney Valley

  • Record Label: Partisan
  • Release Date: Oct 15, 2013

Mixed or average reviews - based on 23 Critics

Critic score distribution:
  1. Positive: 13 out of 23
  2. Negative: 2 out of 23
Buy On
  1. Oct 17, 2013
    Morrison turns his ever-honest eyes towards fatherhood and commitment, while the band balance his emotional vulnerability on thin lines of guitar, dangling the whole thing over a churning ocean of rhythm.
  2. 75
    Pay no attention to the lyrics (pretend you’re foreign or something), concentrate on the music, and you might just enjoy yourself after all.
  3. Oct 30, 2013
    Uncanney Valley is an enjoyable and accomplished record.
  4. Oct 28, 2013
    The saving grace of Uncanney Valley is its resolute tenderness, an emotion the band never coaxed out of their twenty-something gloom.
  5. Magnet
    Oct 18, 2013
    "Invisible" offers spacy prog; "Waiting" could be a sitcom theme song, and "Living in Song" and "Mexico City Christmas" are slinky, murky and devo-ish. There are also rapid-fire, traditional indie rockers and happy summer jams. [No. 103, p.55]
  6. Oct 17, 2013
    Despite the full dismissal of punk roots here--the blended-in drumming, the lack of rollercoaster twists and turns in the tempos and time signatures--Uncanney Valley's only real stumbles are lyrical.
  7. 70
    The band is so good together, though, and sound so at peace and at ease knocking these songs out, that it makes it hard to even dislike the record, problems though it may have.
  8. Oct 15, 2013
    The endlessly hooky Valley veers from funk-furnished, thrashing tragicomedies ("Waiting") to springy eulogies for the past.
  9. Oct 14, 2013
    It's an album that, smartly, neither embraces the past as empty nostalgia nor ignores the events of the past 12 years.
  10. Morrison’s occasional lyrical forays into cheeseball territory can detract from the record, but taken as a whole there’s more to like here than there is to hate.
  11. Oct 15, 2013
    The artistic liberty of neglecting to ease anyone in to a new incarnation of the same band is wholly admirable. The result, however, is pretty uneven.
  12. Oct 29, 2013
    An agitated yet hook-heavy affair, these 10 cuts feel like an act reacquainting itself, slipping into a creative comfort zone that still requires a little polish.
  13. Oct 10, 2013
    This is verse-chorus-verse as pleasantly intuitive as it comes, thematically light yet with enough room for the musicians to show their considerable skill.
User Score

Universal acclaim- based on 9 Ratings

User score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2
  1. Oct 16, 2013
    I've been a fan of Dismemberment Plan since their first two albums. 12 years have passed since the release of "Change" and I lost my hope aI've been a fan of Dismemberment Plan since their first two albums. 12 years have passed since the release of "Change" and I lost my hope a long time ago to hear a new LP from these guys. But it's just a gift to hear new material from them. "Uncanney Valley" is an album that follows the natural progression from "Change" and the solo albums from Travis Morrison. But you won't find here the eclectic D Plan from their first albums. So if you like the old D Plan, and if you were not happy with their last album "Change", you will see it's not worth listening. It's not an "Emergency & I" or "Is Terrified".

    But if you loved "Change", maybe after a few listens you will get a happy nostalgic feeling. It's not a perfect album, not what I would have expected from them in their full potential years ago, but it's so good to hear these new songs. They came back 12 years older, but I'm 12 years older too. Then I still feel in "Uncanney Valley" the things that made me love this band. It's been a very good surprise.
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  2. Oct 15, 2013
    From all the releases this year, none are quite as nostalgic as this. Two years ago, I discovered The Dismemberment Plan in the best possibleFrom all the releases this year, none are quite as nostalgic as this. Two years ago, I discovered The Dismemberment Plan in the best possible time. 2011 was the year that I made huge musical advances in my taste. One album in particular that struck me was The Dismemberment Plan's Emergency & I. It was different. It was fresh. I loved it and played it over and over again. Once I was graced with the chance to see The Dismemberment Plan in Chicago that summer, I thought my life was complete. One last chance to see the band during what seemed like a reunion tour was very humbling. Boy, I never expected them to actually stay together, let alone record a new album. Considering their last album was 2001's Change, there was a bit of a time gap to fill. And oh man, those 12 years have had their toll on the band. A more matured D-Plan has emerged from their forsaken hiatus, with dad-rock rhythms and thoughtful lyrics.

    From the somewhat seasonal sounding opener "No One Is Saying Nothing", The D-Plan try to jump right back in where they left off. Although the track really would have been an awkward addition on previous albums, it seems to fit as the opening track for a new breed of D-Plan songs. "Waiting", the first track released from the band's newly announced return, really needs at least 3 or 4 listens to soak in. At first, its off-beat electronic beeps and sporadic bass line are difficult to handle. Once you adjust to this new effort, it really does sound spectacular. The same goes for "Invisible", the next track on the album. With its beautiful violin intro, Travis Morrison's singing/talking invades and illustrates a sad story. This track is the closest The D-Plan will get to previous album hits such as "Spiders In The Snow" and "Following Through". "White Collar White Trash", the upbeat, eclectic track that features strange lyrics and unique instrumentation brings a new sound to the band's discography. It still imitates previous chaotic sounds, but this time, it sounds a lot more controlled. "Living In Song" and "Lookin'" seem more like transition tracks, simplistic and easily forgettable. Sure, they sound great, but there is nothing outstanding about either of them. "Daddy Was A Real Good Dancer", a danceable ballad picks up speed and reminds the listeners that The D-Plan can make brilliant songs about pretty much anything. "Mexico City Christmas", another highlight of the album, sheds light on who The D-Plan really is. Their origins trace back to chaotic, college sounding tracks filled with youthful lyrics and catchy beats. This track is one final throwback to the old days. "Go And Get It" is a strange affair. With an intro reminiscent of "Radioactive" by Imagine Dragons and any number of Coldplay songs, this track is an attempt to make stadium rock. Although the band does not present itself as this type of mainstream group, I could definitely picture this song blaring over the speakers at a hockey game. Often the final D-Plan song on an album is a good farewell song. This is still true with "Let's Just Go To The Dogs Tonight". This song only feels at home at the ending of the album. With lyrics about saying goodbye and clichéd "repeat after me" verses, we can all wave goodbye to the band that has done a fine effort in their return to the alternative crowd.

    Even though I miss the chaos of the old D-Plan, I am happy that the band has not strayed too far from their original sound and kept their signature innovative instrumentation and exceptional vocals. They grow up so fast.
    Full Review »