Buy Now
| Buy on |
|
- Critic score
- Publication
- By date
-
Apr 29, 2015This LP is deliciously ambitious and stunning in the production and collation of such varied elements and influences.
-
Apr 22, 2015His predilection for marrying sublime pop melodies to bombastic arrangements laced with classical avant-garde flourishes has reached a new level of focus, and, resultantly, potency, on Jackrabbit.
-
Apr 17, 2015For those willing to pay careful attention, it provides a deeper, more rewarding experience. [Mar - Apr 2015, p.86]
-
Apr 17, 2015The performances are strident and lean, suggesting the players are every bit as invested in delivering the best reading of Ludwig-Leone's complex and often gorgeous songs as he was inspired in creating them.
-
May 21, 2015The foibles in surface-level character development thankfully get overshadowed for much of the album with the undeniable charm of the orchestral pop sound.
-
Apr 17, 2015All the pieces are in place; the composer and players are uncannily gifted for a rock band. All that’s missing is the will to transcend expectations.
-
Apr 22, 2015Jackrabbit is still a potent and evocative listening experience, even if it strongly recalls memories of even more potent and evocative listening experiences by other bands.
-
May 4, 2015Tag-team singers Charlene Kaye and Allen Tate flaunt killer instruments, though their performances can want for drama.
-
Apr 30, 2015Jackrabbit is smart, charming and ambitious. But it would have been a lot more concise without the filler tracks in the middle.
-
Apr 20, 2015The improvements from the self-titled album can only be comprehensively taken in with a full listen of Jackrabbit, but using a second album to slowly build and improve an already vastly promising sound--instead of attempting an erratic reinvention--is something Ludwig-Leone should be commended for.
-
Apr 20, 2015The wearying volume of Jackrabbit is the most taxing aspect of a record that already arrives intentionally overstuffed.
-
UncutApr 17, 2015Jackrabbit is two songs and three interludes of grandiose, tuneless narrative better suited to Broadway. [May 2015, p.80]