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The Week That Was leaves "indie rock" behind, hops right over hip marching-band music, and lands square between the lofty obelisks of high-art pop and New Music.
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Executed with serious flair, it manages the rare feat of being both mentally stimulating and musically satisfying. It is, in every regard, one of the most daring albums you’ll hear this year.
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Never mind the retro-gazing moniker-- The Week That Was is a band you need to hear now.
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MojoIn these crop-to-fit times, omnivorous, visionary pop is at a premium, and there's all the more reason to prize an omnivorous visionary pop record like the Week That Was. [Sep 2008, p.96]
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It’s one of the oddest beauties of the year so far.
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Of all the 32-minute concept albums inspired by Paul Auster to come out of Sunderland this year, it's comfortably the best.
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Brewis constructs songs with architectural scale and precision--in its own prim, nostalgic, English way, it’s pretty dazzling stuff.
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The art never gets too over-indulgent and it never gets in the way of the songs.
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You’d think this might get messy, but the arrangements are so thoughtful that the result is sweeping and astonishing.
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It's heady, bleak stuff, certainly, but the sheer ambition and, bizarrely, hint of liberation with which it's performed make it one of the year's most perplexingly life-affirming releases.
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Alternative PressFor what looks to be a one-off, it's remarkably fleshed out and intricate. [Oct 2008, p.151]
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Under The RadarBewis has brought the album to the brink in just eight tracks. [Fall 2008, p.85]
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The results are unsurprisingly focused: From beginning to end, The Week That Was is executed with mathematical precision.
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This debut is one of moments and mystery.
Awards & Rankings
User score distribution:
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Positive: 14 out of 15
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Mixed: 0 out of 15
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Negative: 1 out of 15
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Nov 3, 2011