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Jan 28, 2022Time has shaped their voices fascinatingly, adding comforting heft to Callahan's baritone and resilience to Oldham's warbly tenor. The former lends some warmth to the wry elegance of Steely Dan's "Deacon Blues," while the latter adds a mystical melody to Leonard Cohen's "The Night of Santiago," a spoken-word piece from his final album Thanks for the Dance. When they join their voices, they complement each other perfectly.
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Jan 11, 2022Callahan’s honeyed, slightly gravelly bass-baritone, which comes across as dispassionate to the point of being noncommittal on Blind Date Party at times, and Bonnie Prince’s tenor, consistently vulnerable, raw, wide open, complement each other in a compelling way, establishing dramatic tension and unearthing emotionally resonant inner dialogues within the album’s songs.
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MojoJan 11, 2022Blind Date Party is intriguing enough to be more than a one-night thing. [Jan 2022, p.82]
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UncutJan 11, 2022The project's success can be measured by the extent to which the tunes have been transformed. [Jan 2022, p.21]
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Jan 11, 2022The voices of Callahan and Oldham provide a through line in what can occasionally be unexpected stylistic forays. Least best is a version of Billie Eilish’s Wish You Were Gay: High Llama Sean O’Hagan’s flippant, tinny beats point to a grave generational misunderstanding of digital pop. But almost everything else succeeds in having revelatory fun with old favourites or hitting the listener hard– or both.
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Jan 11, 2022Functions less like a singles collection and more like an overstuffed double album: discursive, playful, and full of imagination.