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Mar 30, 2017The influence of producer John Congleton (St. Vincent, Explosions in the Sky) is clear, Furtado exerting pop-adjacent weirdness with a healthy dose of fuzz and charm. However, she loses the focus and simple brilliance of the more upbeat moments when she hits the ballads.
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Mar 30, 2017The Ride feels a lot like the debut of a new rising star.
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Mar 30, 2017What gives The Ride its personality how these hooks bend through Congleton's production and Furtado's subdued delivery, shifting this mainstream pop just into a fringe where this singer/songwriter now seems happy to be.
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Mar 30, 2017She tears into every song with indomitable energy, and usually has production to match. Though it doesn’t quite mesh with the ballad, the twitchy percussion of “Carnival Games” at least livens things up.
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Apr 3, 2017This is unabashedly a pop album, full of big melodies and simple metaphors, that adds just a bit of analog fuzz to her usually pristine sound.
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Mar 30, 2017The result is a better-than-most modern pop record filtered through an indie aesthetic that nevertheless lacks the forward-thinking drive of the best of either genres.
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Apr 5, 2017The problem with The Ride is just that it’s a lot duller than it should be, and it feels even more disappointing given that her most successful work is also her most eccentric.
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Apr 10, 2017Longevity is often characterised by reinvention in music, yet The Ride stalls in its attempted inventiveness, instead finding success in its most pared down and familiar moments.
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Mar 30, 2017It’s difficult to avoid making endless comparisons when an album feels so miserably storyboarded--the sad fallout of commercial pop that just patchworks trendy styles together. But at least The Rise does so with zeal.
Awards & Rankings
User score distribution:
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Positive: 62 out of 73
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Mixed: 5 out of 73
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Negative: 6 out of 73
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Oct 8, 2017
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Apr 13, 2017
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Apr 10, 2017