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The WireApr 24, 2013This is classic David Grubbs--which is to say a joy, but also that it's unbashedly disparate. [Apr 2013, p.50]
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Apr 30, 2013For those who have enjoyed Grubbs’ wide-ranging career and don’t mind taking a 45-minute detour into the mind of a clearly talented guitarist and singer (complete with painful violin), The Plain Where The Palace Stood is good enough to demonstrate how great Grubbs can be when he hits the mark.
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Apr 22, 2013This album is Grubb’s most cinematic and balanced offering yet. It slowly burns through his moods, explores his Western panoramas and phantasmagorical musings.
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Apr 19, 2013The results, though often feeling abrupt and sometimes overly academic, are mostly warm and curious, stretching out in eternal open-endedness that isn't really looking for answers or understandable conclusions.
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Apr 19, 2013The album shows that Grubbs’ music and his relationship to pop convention remains as distanced, fitfully frustrating, and stubbornly idiosyncratic as ever.
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MojoJun 18, 2013It's hard to imagine droves of converts flocking to so abstruse a musical cocktail, but it's a welcome addition to the Grubbs canon, nonetheless. [Jul 2013, p.87]
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Q MagazineApr 19, 2013It's a tangled combination, but if you've got the patience it's worth trying to unpick. [May 2013, p.101]
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Apr 19, 2013It’s best moments are far from solo and—like Grubbs work in Gastr del Sol, Codeine, Bitch Magnet, etc.--find him at his best when he’s in conversation with other players, other instruments, other sounds.
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MagnetMay 10, 2013The failing of Plain, however, is its lack of direction and absence of cohesiveness. [No. 98, p.55]