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Q MagazineFans of Owl City and The Postal Service will relish such good clean fun, quite literally when Dadone warbles, "Don't let the bathwater get too high" on Starring. [Oct 2010, p.107]
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Though it'll never be powerful or earthshaking, Weathervanes seems to have found its place among the clouds.
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As it is Weathervanes remains a catchy album that will satiate those with an indie-pop sweet tooth, (the type who can bear glockenspiel on every track) and maybe even offer the odd moment of genuine inspiration. Many of us will find it all a little too familiar and unengaging to get that far.
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Too much of Weathervanes is unnecessary fluff. Of the album's 13 tracks, three are wordless moments of focus-less, meaningless noise and at least three other songs could have been trimmed down by a few minutes.
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Under The RadarThey're underachievers who need to try harder. [Winter 2010, p.62]
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Mostly, though, Weathervanes is pleasantly nonconfrontational--like a Demetri Martin routine, minus the funny.
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It's hard to find fault with the album's intricate arrangements and top notch production, but the songs, which rarely change key, begin to congeal into one big independent film trailer montage as the record progresses.
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A serviceable but utterly derivative slice of twee electro-pop, the album quietly retreads the ground covered by Sufjan Stevens, The Postal Service and Frenchkiss labelmates Passion Pit, failing to form any identifiable shape of its own.
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Most of Weathervanes is serviceable modern rock, so it will find an appreciative audience despite its egregious derivativeness and a lyricist who seems like he'd use the word "inebriated" to talk about how drunk he got last night.
User score distribution:
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Positive: 12 out of 17
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Mixed: 2 out of 17
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Negative: 3 out of 17
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Jun 2, 2011
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Feb 8, 2011This review contains spoilers, click full review link to view.