Neon Bible for the even more hopeless. Six ‘darlings’ removed from a perfect score.

Not exactly adventurous.

Getting old sucks eh.

Such control and restraint for an album that explodes with ideas and emotion.

A significant step back from its predecessor which felt more urgent, and somehow more intimate than an album concerning all things melancholic (as ever for Mr. Blake).

Can: Make a beat.
Can't: Make a tune.

Zzzz.

Is this Mimi B-sides from Rent?

A little derivative and lags towards the end but, nonetheless, all-consuming.

I think I'm missing something here. Nothing wrong with being a nice little album, though I'd rather listen to 'Set Yourself on Fire' if that's the case.

The ending of 'Posing for Cars' should be felt throughout the album. Instead it's used as a cathartic exclamation point on an artist's meandering 10-track journey. Which again, is fine, but not enough to translate the ecstasy she seems to be searching for.

Pet hate of this website: rating individual songs and using the sum of that as your overall score. Could not be less helpful when evaluating an album like this.

Grouper for new-wave dancefloors (a compliment).

Give me a whole album of the ambient pieces. Somehow Baths-lite.

Great ideas. Great moments. Unfortunately is not a sum of its parts.

Can’t get the thought out of my head that this is music for those who wished for a post-punk album from Paul Dano’s character in There Will Be Blood. Which is totally fine if that’s your thing.

Starts and ends incredibly strong—wistful, expansive, infinite—though can meander a little aimlessly in between. This can really grow.

Much more than a guitar, the record infuses layers of rhythm and tones to meld a deep listening experience fit for any time of day, at any place.

The boys have somehow pulled it off. Stuff of legends. Drifts towards the end but there's no harm in that when there are moments of such sheer euphoria, combining the mundane daily life with the existential consequences.

Plays out like a movie we have all seen many times but there's nothing wrong with that, per se. Makes standout tracks (Wonder, Both Mode) really stand out.

Can evolve into such places of pure trance that one may forget how they got there (often extended, gratuitous, meandering periods of time). Presumably performed on the floor.

Not as transcendent as his previous titles but nonetheless engaging and timeless.