Love, Loss and Auto-Tune Image
Metascore
74

Generally favorable reviews - based on 8 Critics What's this?

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  • Summary: The latest release for the soul artist was produced by Poliça's Ryan Olson (with assistance from Bon Iver's Justin Vernon) and features guest appearances from Bon Iver and Guitar Shorty.
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Score distribution:
  1. Positive: 7 out of 8
  2. Negative: 0 out of 8
  1. Sep 7, 2018
    80
    The electronics are employed more to create the reverie of thinking about the past. But Dogg doesn't just let the feelings lie. He closes with bombast and fanfare as his voice and the instrumentation get louder until the fade out. It's a fitting way to end the album, with a strong declaration of love and loss.
  2. Mojo
    Sep 5, 2018
    80
    Overall, Love, Loss, And Auto-Tuned is a deviant masterpiece. [Oct 2018, p.92]
  3. Sep 10, 2018
    73
    The album works best when the technology evokes abject isolation. ... Despite the complexity and insight it offers in its lyrics, the jumbled rhythms on “$$$ Huntin’” trip up any groove the song might otherwise achieve. Love, Loss, and Auto-Tune often loses its footing at moments like this, when the tempo picks up.
  4. Uncut
    Sep 5, 2018
    70
    The textures are deliberately synthesised, but the songs themselves couldn't be realer. [Oct 2018, p.34]
  5. Sep 7, 2018
    70
    On Love, Loss, and Auto-Tune‘s best songs, Olson’s synth-heavy backdrops evoke the late Eighties, landing somewhere between early Chicago house music and twitchy hip-hop.
  6. 70
    On this album, the naturalism of Swamp Dogg’s lifelong soul and funk all but disappears. But in its way, Love, Loss, and Auto-Tune is completely true to everyday 21st-century experience: ubiquitous and intrusive technology, splintered attention spans, mediated presences and onslaughts of random information. And yet, somewhere within all the digital commotion, there’s still a human being in search of love.
  7. Q Magazine
    Sep 5, 2018
    60
    Warped and touching, this is an LP for both higher and lower selves. [Oct 2018, p.119]

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