- Critic score
- Publication
- By date
-
One can sense that she has complete control, lyrically and musically.
-
'White Lilies Island' sees Imbruglia free herself from the Alanis Morissette-clone image that you sense was very much forced last time around and actually manage to carve out an identity, both in her vocals and as a personality.
-
Despite Imbruglia's big, pouty voice, it's all perfectly pleasant and quickly forgotten.
-
A surprisingly agreeable, if lightweight, disc.
-
MojoThe actual tunes may not be particularly strong, but crucially, at the centre of it all Natalie croons and sighs with all the clear-eyed moonfaced sweetness of Juliette Binoche baking cakes. [Dec 2001, p.116]
-
Not everything about Imbruglia’s second album is as bad as most critics would like to make it.
-
Imbruglia's delicate, sweet and well-behaved singing isn't the ideal vehicle for expressing angst, even if most of these minor-chord, gray-skies anthems seem to be yearning to do just that.
-
Q MagazineImbruglia's thin voice can't keep pace with the excellent but demanding Everything Goes and Sunlight, while the half-dozen ballads aspire only to T'Pau's China In Your Hand. [#184, p.137]
-
UncutThe album runs out of steam halfway through as the songs become over-reliant on the production and Nat veers off into Dido territory. [Dec 2001, p.106]
-
BlenderSkips from one song to the next without leaving any great impression or displaying a single sentiment Jessica Simpson would find distressing. [#4, p.118]
-
There's an overwhelming tinny ring that starts on the second track, "Beauty on the Fire," and ends with the last track--it's this young possum's voice.
Awards & Rankings
User score distribution:
-
Positive: 20 out of 28
-
Mixed: 1 out of 28
-
Negative: 7 out of 28
-
Jan 15, 2020Extremely underrated gem. Grows after each listening. No filler songs, each one was my favorite at the time.
-
Nov 6, 2013
-
MichaelL.Sep 24, 2007