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The downside to a more refined and mature record is that some of their ramshackle charm and energy has been lost. Not enough to make the band bland, but if they take one more step toward professionalism the next record may turn out that way.
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SpinThe vibrant Revelry is tougher and deeper--the sound of traffic lights reflected through Rolling Rock empties, of clothes permanently reeking of cigarette smoke. [Apr 2002, p.124]
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The joy of Lost in Revelry is its balance. It's assured, but freely flaunts its imperfections; it's polished, but clearly revels in its most amateurish moments.
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Although The Mendoza Line haven't exactly reinvented the wheel with Lost in Revelry, it's still a fantastic album that deserves to be heard by anyone who appreciates supremely intelligent, morose pop music.
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The majority of the album's highlights come courtesy of the songwriting tandem of Bracy and Hoffman, whose maturity as songsmiths is notable-- this record is consistently concise, punchy and poignant.
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UncutLost In Revelry's trump cards are its sudden, exhilarating turns of weather, its restless--sometimes uncomfortable--soul-searching, and its knack of throwing up instantly-hummable pocket classics. [Dec 2002, p.131]
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ResonanceThe Mendoza Line still can't sing or play very well, but that only adds to their exuberant charm, and makes Lost In Revelry what it is--a smart, fun record. [#34, p.63]
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Fans of the group's previous recordings may have trouble accepting the fact that Lost in Revelry doesn't have the high melodic consistency of We're All in This Alone.
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