Generally favorable reviews - based on 22 Critic Reviews

Critic score distribution:
  1. Positive: 19 out of 22
  2. Negative: 0 out of 22
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  1. Jun 13, 2016
    Throughout, Strangers is quite simply an understated tour de force by a now experienced composer and performer, able to convey a feeling and lead the way within it in equal measure.
  2. May 23, 2016
    Strangers is an astounding combination of styles that takes music that is fairly usual, and turns it into something completely unique that strikes slowly but deeply, and irrevocably.
  3. May 20, 2016
    Strangers‘ ambition is its greatest asset, and because of Nadler’s own ambition, there is reason to believe she could get better still.
  4. Magnet
    Jun 1, 2016
    Marissa Nadler’s sixth studio record finds the Boston-based singer creating beautiful, sweeping songs that feel as ethereal as the last dream before dawn. [No. 131, p.59]
  5. May 27, 2016
    Nadler can’t be pinned down, and all of Strangers is an indication of that new challenge she both creates and meets.
  6. May 18, 2016
    On Strangers, Nadler seems to have her perfected her craft, adding even more confidence to keep her winning streak alive and well.
  7. May 16, 2016
    In all respects, Strangers is about coming to terms with one’s situation, and what it lacks in blind hope it makes up for with thoughtful consideration. That care is what assures the record’s grace and splendor.
  8. May 12, 2016
    If David Lynch were looking to soundtrack dreamlike disassociation, he need look no further. [Jun 2016, p.91]
  9. May 12, 2016
    Another fautless collection from Nadler, fast becoming one of the most distinctive voices in American music. There’s comfort in melancholy, as someone once said.
  10. Uncut
    May 12, 2016
    It is intimate, sometimes almost conversational, and words are sighed, whispered, confided. Oddly, the more she pulls back, the more epic it sounds. [Jun 2016, p.68]
  11. 80
    Strangers feels and sounds like a breakthrough album, a set of linked short stories set to music. Having built a head of steam with her previous six records, album number seven sounds like Nadler’s waiting game is at an end.
  12. May 20, 2016
    Strangers is in many ways more dynamic than some of Nadler’s previous efforts, balancing the ethereal atmospherics with musical movement that adds a sense of foreboding, as if Nadler were singing calmly in the face of an onrushing apocalypse.
  13. May 23, 2016
    As Nadler exorcises her own demons, she brings you along with her, making you feel a little less anxious about your own despair. She sees poetry in the mundane, elegance in the gloom.
  14. May 27, 2016
    The nuanced musical and sonic sophistication on display here is an extension of the songwriter's signature sound, which has perhaps become more accessible. That said, these changes mark development, not compromise.
  15. May 23, 2016
    When the music is less overwhelming, you notice that July knob-twiddler Randall Dunn’s clean production and Nadler’s move away from the depths of morbidity have changed something about her music.
  16. 70
    Despite the ominous lyrical content, Nadler creates music with warmth, grace and genuine humility.
  17. May 18, 2016
    As Nadler’s language is mostly monochromatic, the drum help nudge the album forward; her very own John Wesley Harding.
  18. May 16, 2016
    Nadler forges ahead on her seventh album, Strangers, with a mix that comfortably sits within her typical sullen-to-sinister range.
  19. May 16, 2016
    te. For the most part Strangers succeeds because of its strangeness, but when that strangeness slips, the album as a whole does too.
  20. Jun 6, 2016
    The flesh on the 11 ghosts of Strangers is heavier than on lots of Nadler’s past work. And the sonic space mirrors the lyric meat; this is corporal, forward locomotion.
  21. May 12, 2016
    Nadler's work is ultimately less storied than Del Rey's and too under-dramatised to really connect, to really hurt.
  22. The Wire
    Jul 18, 2016
    Almost without exception, these 11 tracks lurch along at a donkey's pace that seems designed to signify grace and dignity, while the crystal cave reverb applied with such liberality by Randall Dunn, producer of choice for the likes of Sunn 0))), Wolves In The Throne Room and Earth, seems after the nth track to cloak a more profound problem, which is that much of the material on Strangers is thin pickings. [Jun 2016, p.54]
User Score

Universal acclaim- based on 32 Ratings

User score distribution:
  1. Positive: 27 out of 32
  2. Negative: 2 out of 32
  1. Nov 17, 2018
    After the legendary and coherent July, there is a lot of experimentation on this record. There is shoegaze (Hungry is the Ghost), psychedeliaAfter the legendary and coherent July, there is a lot of experimentation on this record. There is shoegaze (Hungry is the Ghost), psychedelia (Skyscraper), soft rock (Katie I know), a love song (Dissolve) and even a novelty tune (Shadow Show Diane). All is done proficiently, if not superbly. Full Review »
  2. May 23, 2016
    Can't recommend this enough. Pushes her sound into new places while retaining all the things I've loved about her music for years. TheCan't recommend this enough. Pushes her sound into new places while retaining all the things I've loved about her music for years. The sprawling, rolling chorus in Katie I Know is the best chorus of the year IMO and Hungry is the Ghost is the most beautiful, atmospheric slow-burn of the year. Full Review »