Generally favorable reviews - based on 10 Critics

Critic score distribution:
  1. Positive: 8 out of 10
  2. Negative: 0 out of 10
  1. A spellbinding tribute, with a commanding presence and sustained intensity that most songwriters can't manage even with their own material. Like a reverse version of Bob Dylan and the Band's The Basement Tapes, 'What's Next to the Moon' turns songs that were loose, irreverent, and even silly or one-note in their original readings into songs of timeless beauty and depth, their passions, pains, and torments made agonizingly palpable.
  2. With just his voice and an acoustic guitar, he's made these songs his own, and in the process created a most remarkable LP. [#154, p.93]
  3. 90
    A flawless display. By turning former earache classics like "If You Want Blood" and "Love At First Feel" into beautiful acoustic ballads, much of The Moon sounds like his previous hits... [#49, p.86]
  4. Kozelek has delivered a wondrous collection.
  5. If there's one positive remark to be made about What's Next to the Moon, it's that it sheds revelatory light on the subjective nature of lyrics. Yet, that might be the only truly positive remark this album deserves. Sure, Kozelek's voice is still smooth and sad, and his guitarwork is still deft, yet modest. But these are standard factory settings.
  6. Kozelek's sparse, haunting delivery can render even the basest material achingly affecting...
  7. Stripping away the nails-on-chalkboard caterwauls, ear ravaging guitars and caveman histrionics, Kozelek gets down to the very essence of the words and melody, rendering most of the songs unfamiliar but wholly captivating.
  8. What’s Next to the Moon is Kozelek achieving the impossible; he has actually managed to make AC/DC sound romantic.
  9. The fact that its 10 songs are all Bon Scott-era AC/DC covers seems oddly secondary.... There's nothing earth-shatteringly special about reinventing old songs this way, but it's striking how well the lyrics match Kozelek's weary delivery.
  10. Without the thundering drums and over-amped testosterone of the originals, the songs are revealed as the beautiful blues-based writings they in fact are.

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