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Miraculously, the whole thing hangs together perfectly, each song complementing the last and what should be a mess of disparate influences, becomes a cohesive whole.
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So who cares if Esser is clearly a product of his environment, right down to the post-Millennial Morrisey pompadour. Put him in line with several decades of British music that will always satisfy the NME reader within.
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MojoIn short, this is exceptionally good contemporary pop. [Jun 2009, p.109]
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Though it can sometimes feel as if Esser is randomly pushing buttons to make the strangest noises he can, Braveface is a satisfying 35 minutes.
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Q MagazineHe's not quite established his own sound, but that will surely come. Meanwhile, Braveface remains hugely enjoyable. [Jun 2009, p.121]
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Overall, Esser delivers a solid pop debut for a guy who many would have dismissed as “just” the drummer for a lackluster post-punk band.
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There’s enough sonic meat here to gain him fans, but not enough depth to build a fanbase that will remember him once he’s off the airwaves.
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Pop singers certainly don't need to reinvent music production to be gripping, but Esser's debut doesn't strain or stretch creative boundaries or hit that perfect balance between playful and experimental in the same way that contemporaries like Micachu and the Shapes do.