Metascore
79

Generally favorable reviews - based on 9 Critic Reviews

Critic score distribution:
  1. Positive: 9 out of 9
  2. Mixed: 0 out of 9
  3. Negative: 0 out of 9
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  1. Dec 6, 2019
    80
    An intriguing listen. Just when you think you have it worked out, Souleyman changes the script, and tempo, and you’re back to square one.
  2. Dec 2, 2019
    80
    Certainly short and in places sharp, Schlon is just the right level of sweet, too. With increased variety in his arrangements and a willingness to explore slower paced rhythms, Souleyman underlines his ability to fulfil a passionate mission for bringing joyous music and its message of love to ever wider audiences.
  3. Dec 2, 2019
    80
    Shlon is a short and sharp addition to his discography and proof that his passion for the music is undiminished.
  4. Mojo
    Nov 25, 2019
    80
    Another hip-rolling, dabke masterclass. [Jan 2020, p.92]
  5. Nov 25, 2019
    80
    Shlon is the album where Souleyman reveals his comfort with his new band, who have, after all, traveled tens of thousands of miles together. He also returns to the incendiary approach of his early albums, worrying not so much about hip textures and beats as delivering these songs as soulfully and energetically as possible.
  6. 80
    ‘Shlon’ allows Souleyman to lift the curtain into his culture, showing his artistry and why exactly he’s one of the most sought-after producers in the world. To pigeonhole him as a wedding singer is reductive.
  7. The Wire
    Dec 9, 2019
    70
    Part of Souleyman’s thing is upsetting delicate ears with his so-called vulgarity – it’s music for taxi drivers and party crashers. Likewise these swooning synth stabs may sound kitsch to discerning ravers, but the fun is heroically nonstop. [Jan 2020, p.69]
  8. Uncut
    Nov 25, 2019
    70
    Shlon is in some senses a return to his roots, combining the lush Arabic romance poetry of collaborator Moussa al Mardoud with Hasan Alo's techno arrangements. [Jan 2020, p.28]
  9. 70
    It’s only six tracks long, and all of the tracks are under seven minutes, but it often feels twice that length. Souleyman’s music has always been intense, but Shlon feels as though it’s been dry-aged, sun-dried and mummified – his voice seems rawer and wilder than ever, the electronics are fiercer and sharper than before, and each of these jams has a sonic gravity you would expect to find in a Berlin club at 2AM.

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