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Some may blow off Tongues as too jammy or underdeveloped, but neither is truly the case and, in fact, it's unpolished characteristic is core to it's sound.
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Tongues is a record of surpassing depth and ingenuity.
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The reason Tongues works so well is not because the song lengths are significantly shorter, but because both Hebden and Reid interact on the same wave length.
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It doesn't always work, but there are more than enough explosive moments to pick up the slack.
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UncutMore structured than its predecessors. [Apr 2007, p.102]
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'Tongues' contains some of the most uneasy listening ever.
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Q MagazineThe pair are so full of ideas, there's scarcely a dull moment. [Apr 2007, p.119]
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Hebden and Reid's music is as full of depth and ideas as before.
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SpinShowcases skittering electronics framed by grounded, dynamic percussion. [Apr 2007, p.88]
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UrbTongues is a shorter, tighter set of songs that retains the pair's reckless spirit of improvisation and experimentation. [Apr 2007, p.104]
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There are sublime moments here, and occasionally the interplay is breathtaking. This is pretty rare however, which leaves the rest of the record sounding just as you’d imagine it would, which isn’t a bad thing, just not at the levels of creativity we’ve come to expect.
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Despite its misfires, Tongues does make for an intriguing listen, and the record is punctuated with the occasional highlight.
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The underlying problem here seems to be that Hebden still isn't comfortable in his own skin while improvising, with Reid or otherwise.