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Their songs of experience suggest they spent some time exploring that darkness, only to have found the light on the other side.
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'Angels On A Passing Train' and the terrific rock-soul ballad 'Blue But Cool' don't have anything particularly interesting to say--the lyrics are all about salvation, redemption, and other big ideas Craig Finn repackages far more ingeniously--but they jump out of the speakers with just the right mix of conviction and craftsmanship.
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Smith adds subtle layers of piano to the formidable 'Wild West Love Song' and the bluesy, Zeppelin-like 'Jesus in the Temple.' But even more newsworthy, her jazzy stylings have rubbed off on the Bielankos.
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Marah manages to convey the manic energy that makes it such a great performer, and the result is its best album yet.
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In Rolling Stonesy stomps and skiffle bounces, easygoing vaudeville shuffles and driving rockabilly boogies the songs make allegorical visions sound like barroom banter.
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Angels of Destruction! is an album that brims with joy, rage, and adventure, and deserves your attention.
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MojoAngels Of Destruction continues a rich tradition forged in the bars of their hometowns. [Feb 2008, p.105]
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UncutAngels Of Destruction sounds like one almighty road trip, barrelling along to piano. blustery guitars and the odd honk of E Street sax. [Feb 2008, p.86]
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MagnetAngels just rocks. [Winter 2008, p.108]
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Angels is a Marah album, which sort of sucks, but that 'Blue But Cool' and 'Santos De Madera' and the title track might still make you a little misty eyed and/or end up on a mixtape.
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Tracks like ‘Angels On A Passing Train’, swoon with religious imagery and elevate in their choruses, nodding unashamedly to Dylan and Springsteen, while ‘Jesus In The Temple’ is a BRMC mosey into the sunset, delivered with adventurous gusto that’s matched by anything found here.
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You'd need to have that pre-existing love for Serge and David Bielanko's music to draw anything much from their unremittingly competent seventh album proper.
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Q MagazineAngels Of Destruction builds on the momentum of 2005's "If You Didn't Laugh You'd Cry." [Feb 2008, p.99]
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Overproduction, unfortunately, doesn't fully account for its flaws. Too many of the songs invoke heavy-handed spiritual imagery.
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The subdued exception 'Blue but Cool' aside, the pretentious poetry and overwrought riffing induce numbness, not transcendence.