- Critic score
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FilterIt's Watson's voice we're missing most from the overwhelming instrumentation, and after hearing the Buckley-esque transcendence that his vocals are capable of, it's more than disappointing to hear them take second chair. [Spring 2009, p.106]
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Wooden Arms, on the other hand, bears the sound of something far more collaborative and just that little bit more complete. Our refound love for musical vanguards should therefore also extend to Patrick Watson.
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The spontaneous sounding arrangements--topped by Watson's uniquely mercurial voice--are at turns ornate, grand and subtle, but never less than totally bewitching.
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Patrick Watson doesn't do foundation work exceedingly well. Yet this is not to say that there aren't moments on Wooden that suggest songcraft was the foremost urge.
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Q MagazineTellingly, they're at their most beguiling when taking chances. [Jun 2009, p.134]
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More ambitious than on past efforts, Watson slips through quiet night spaces, and like Sendak's Max, puts on his wolf suit, making mischief of one kind, then another, until Wooden Arms flares with his vibrant energy.
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Less immediate than its predecessor, Wooden Arms takes several plays before the haunting melodies and more obtuse textures draw you in.
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UncutHe's lost his way a little bit here. [Jun 2009, p.109]
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The songs certainly stand on their own, but Watson makes them sound incredible.