Buy Now
| Buy on |
|
- Critic score
- Publication
- By date
-
Apr 25, 2013Tillman’s silken, Otis Redding–reminiscent vocals anchor funky, horn-driven R & B beats that match the swagger of Motown.
-
May 20, 2013Bye Bye 17 ditches raunch and irony for old-fashioned songwriting and something approaching sincerity, and the results are kind of amazing.
-
May 1, 2013It's clear that this is easily Har Mar's best album. Sure, the lyrics are still hamfisted, but they're not as bad as they were in the past.
-
Apr 25, 2013Bye Bye 17 feels less gimmicky than a lot of his other work. For perhaps the first time, Tillmann is coming at the songs from an angle that doesn't depend on the cognitive dissonance created by his sexual boasts played against his Ron Jeremy-esque appearance.
-
Nov 6, 2014Sean Tillman deliciously and shamelessly embraces his Motown passions.
-
Under The RadarApr 29, 2013An amusing collection of tracks about the transition from youth to adulthood. [Mar-Apr 2013, p.103]
-
Q MagazineMay 13, 2013The sound may gain more traction in a post-Mark Ronson world than his previous electro-based efforts. If only Tillmann didn't have to excise the fun to achieve it. [Jun 2013, p.98]
-
UncutApr 25, 2013He successfully channels Sam Cooke, especially on "We Don't Sleep" but the album's length and lo-fi production makes Bye Bye 17 appear disconcertingly slight. [Jun 2013, p.74]
-
Apr 30, 2013Tillmann seems to have finally found a sound that more aptly showcases his generous abilities. However, lyrically he’s erratic, veering from the incisive to the hackneyed often in under two minutes, still suffering from the need to undercut anything meaningful with the same frustratingly ironic sheen that has marred his career to date.
-
MagnetMay 10, 2013Take the fake phone call and run, don't elephant walk, away. [No. 98, p.56]