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That spirit of fun infuses the whole album: the more sophisticated the music, the more boyishly excited the band sound to be playing it--a pleasure that proves infectious.
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Q MagazineTo reach this pop sophistication after four albums would be admirable. In two, it's awe-inspiring. [Aug 2009, p.105]
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MojoIt's their talent for great hooks, that gets you in the end. [Aug 2009, p.99]
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A glossy Sixties pop sheen hasn’t just been splattered wholesale over every track but instead nicely integrated resulting in a new and engaging, but hardly incongruous, Rumble Strips noise.
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But all too often there's the feeling that, in trying so hard to match the melodrama Ronson and Pallet have draped around him, Waller loses sight of the smaller picture and sounds confused, out of place.
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Welcome to the Walk Alone ends up as neither a success nor a failure; instead, it feels more like a missed opportunity compounded by a bad decision.
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Beneath the glitzy production, the songwriting lacks luster--catchier tunes like 'Daniel' and 'Dem Girls' offer jaunty bouts of melodicism, but the vast majority of this elegant Brit jangle feels a bit recycled.
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UncutWelcome To... is impressive rather than truly loveable. [Aug 2009, p.102]
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Welcome To The Walk Alone may have the skeletal blueprint of pop genius running through it like words in a stick of rock but it verges on insulting.