We the Common - Thao & the Get Down Stay Down
We the Common Image
Metascore
70

Generally favorable reviews - based on 16 Critics What's this?

User Score
8.0

Generally favorable reviews- based on 7 Ratings

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  • Summary: Produced by John Congleton, the third release from the San Francisco indie rock band includes Joanna Newsom as a guest singer on one track.
  • Record Label: Ribbon Music
  • Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Pop, Alternative Singer/Songwriter
  • More Details and Credits »
Score distribution:
  1. Positive: 12 out of 16
  2. Negative: 0 out of 16
  1. Feb 5, 2013
    90
    This is Nguyen's strongest work yet, with the aforementioned songwriting taking a leap forward, while gradually perfecting her melting pot sound of country, folk and pop.
  2. Feb 4, 2013
    80
    She's turned in her most mature work and coincidentally some of her most enjoyable.
  3. Feb 21, 2013
    80
    Even when duetting with harp sprite Joanna Newson, she avoids the trappings of twee.
  4. Feb 5, 2013
    70
    Nguyen's rich, harmonic voice is up to the task, carrying with it the weight of more years than she's lived, and effortlessly mumbling and swinging around these compositions. [Jan-Feb 2013, p.89]
  5. Apr 12, 2013
    68
    We The Common, the fifth LP offering from San Francisco’s Thao & The Get Down Stay Down, offers us a killer collection of infectious beats, bouncy melodies and smart lyrics that you can’t help but move to.
  6. 60
    It’s all lovely stuff, but the darkness within my soul says it’s maybe too lovely.
  7. Mar 11, 2013
    40
    It's the sort of manic outsider funk that succeeds or fails on the basis of how charming you find Nguyen's delivery. [Apr 2013, p.95]

See all 16 Critic Reviews

Score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. Nov 19, 2013
    9
    Thao Nguyen's blend of musical influences is one-of-a-kind. Her mixture of Oriental 12-tones and 4-chord folk-pop progressions is impressive.Thao Nguyen's blend of musical influences is one-of-a-kind. Her mixture of Oriental 12-tones and 4-chord folk-pop progressions is impressive. Her varied use of instruments, tones, and timbres is intriguing. And her stage presence is something that has to be seen to fully understand the eclectic tunes she puts together. The culmination of these factors--a banjo being distorted to sound like a Chinese zither before breaking out into a half-time electric guitar chorus of 'Holy Roller'--ultimately leaves one's mouth agape, wondering what exactly this is, and why it is so good. While reviewers like DIY might think that Nguyen's album is a mediocre continuation of her sound, to newcomers it is a welcome expansion of their musical mind, and one that prompts a further investigation of Thao Nguyen's extensive repertoire. Expand