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It's no wonder that visionary artists like Brian Eno and Tricky have welcomed the act with open arms. "Good Looking Blues" finds the group combining the best elements of its past... with bluesy horns, Jamaican beats, hip-hop drum loops, and avant-jazzy excursions.
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It's intelligent and novel and manages to avoid sounding clichéd -- a bona fide feat these in these postmodern days
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Alternative Press10 tracks of alien grooves, percolating beats and shimmering atmospheres that are engaging, sophisticated, and mature. [#146, p.101]
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Good Looking Blues marks only a subtle advancement over its predecessors. The songs are a little too similar to Laika's Sounds Of The Satellites, and therefore not terribly radical, but that just gives everyone else a chance to catch up.
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Even though you wouldn't call the sound upbeat, it is indeed mesmerizing, tranquil, and head-bobbing.
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Their sound has congealed into a silvery core, rooted in moody dance music, and incorporating bits of acid jazz, lite funk, and minimalist classical stylings.
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While generally more song-oriented than previous outings, Good Looking Blues is built on a foundation of acid-jazzy, polyrythmic beats... [it] shows a Laika that has learned from its past mistakes-- they don't get lost in their own loops like they used to-- and willing to stretch out and explore their surroundings.
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While the clipped melodies and eerie tinklings are gently brushing your feet with a feather duster, Margaret Fiedler is fiercely proclaiming, "Something's gotta give/And it sure as hell ain't me" ('T Street') like a mightily pissed-off Edith Piaf.
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