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Their sound will never grow tiresome; it only gets better with repeated use.
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The Guilty Office feels different; it sounds quite a bit like its predecessor (which in turn sounded quite similar to early ’90s efforts like Fear of God and Silverbeet), but like a new eyeglass prescription, it renders the familiar in sharper detail.
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MojoIt's guitarist Kaye Woodward who remains the band's covert star: her fuzzy solo on 'Crimson Enemy, limpid precision on 'Satellites'a dncrystalline backing vocals throughout represent thefairy dust on a record full of highs. [Jul 2009, p.97]
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To themselves and their fans, this is probably just another good Bats record. To newcomers, like myself, this is a great record that really deserves to be checked out.
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Even as the band sticks to the path of least resistance, it skirts the MOR sandtrap that sinks so many indie rock acts that manage to last a quarter century.
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The dreamy-but-tuneful approach that Bats lovers have come to expect still reigns, but The Guilty Office also shows a willingness to expand things a bit.
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The Bats have become an exciting band in their own right, and The Guilty Office is another solid installment in their discography.
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UncutThe band are now reactivated for their seventh, and pick up pretty much where they left off, the strum and twang now augmented by strings, but with the same determinedly old-school indie happysad heart. [Jul 2009, p.81]
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The Guilty Office recalls its predecessors, with better engineering focusing the details.
User score distribution:
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Positive: 2 out of 2
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Mixed: 0 out of 2
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Negative: 0 out of 2
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KiwimarsAug 15, 2009Another gem from the kiwi four-piece!