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FilterIt seems they’ve found land for their sea legs, regaining footing with a more profound focus by the likes of Cambria Goodwin, whose vocals nod toward Régine Chassagne’s sadness and the haunting of Victoria Legrand.
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Again addressing themes of geographical and emotional isolation, Threadbare sounds like a band trying to find its place in the world, whether on land or at sea.
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Threadbare’s generous, circular nature is to be applauded; it’s rare that studies of loss are as authentically moving and sensitively played as this--and even rarer they’re so completely endearing.
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MojoQuietly dazzling. [Nov 2009, p.100]
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UncutIt's actually more satisfying as a piece, a folksy ambience lapping up against muted psychedelia and reverb'd pop. [Nov 2009, p.102]
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The band has pretty much stayed the course, adding some orchestral flourishes to a few songs on new LP Threadbare, but generally hewing to its acoustic guitar/secular spiritual awakening formula.
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While the more upbeat tracks on Threadbare are competent and downright catchy, they're ultimately engulfed by the fog from which they were born.
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It's full of strong supporting performances, but lacks the defining moment to pull it together.
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Under The RadarIf it doesn't quite scale the heights of "All We Could Do Was Sing," it surpasses its predecessor in terms of raw emotion. [Fall 2009, p.60]
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Threadbare is a bit of a slog to get all the way through in one sitting. The simple addition of two or three more upbeat songs would have gone a long way to breaking up the album’s monotony.
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Q MagazineWhatever Port O'Brien went through over the last 12 months was evidently painful, yet it's upped their game considerably. [Nov 2009, p.111]