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Slim’s range and depth are on full display this time out--with Langhorne Slim, he has painted his first near masterpiece, marking himself as a true artist whose work should be followed with a careful ear from here on out.
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Langhorne Slim is a well-crafted but blessedly unfussy collection of songs about the simple pleasures of being young, rakish, and devil-may-care.
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Though Langhorne Slim has its delights, one would be remiss not to note its flyover country.
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While Scolnick hasn’t refined his oftentimes maudlin lyrical sensibilities to match his serious taste for pop hooks, his honeycombed, hopscotching vocal delivery now has some muscle to back it up.
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It's not that there aren't any engaging moments here--'Restless' is nicely minor and introspective, and the simplicity of 'Oh Honey' actually works quite well--but there are too many misses in between, enough to mar the good parts of Langhorne Slim, making for a sadly unfulfilling release.
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The overproduction of the record is a constant detriment: a large part of Langhorne’s charm is in the rawness of his sound and his unrestrained vocals, but these songs lack the wild-eyed, howling passion of his earlier recordings, even if lyrically they are much stronger than his previous songwriting efforts.
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Uncut'The Tipping Point' is typical of the album as a whole, a rush of hoe-down guitars and echo-laden drums topped off with a half-yelp of a vocal that recalls a slightly more unhinged Jack White. [July 2008, p109]
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