Drowned In Sound's Scores

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For 4,812 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 It Won't Be Like This All the Time
Lowest review score: 0 BE
Score distribution:
  1. Positive: 3,477 out of 4812
  2. Mixed: 1,220 out of 4812
  3. Negative: 115 out of 4812
4812 music reviews
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    • 77 Metascore
    • 80 Critic Score
    Plastic Beach
    Because past the pop songs, past the soaring (and let’s not make any bones about it, this album soars in places) this is a supremely clever album.
    • 78 Metascore
    • 80 Critic Score
    Sisterworld
    Sisterworld derives unity from its punchdrunk stagger, arresting the worry Liars had lost their command of atmosphere after "Drum’s Not Dead." They’ve soaked themselves in a new city and emerged renewed, once again.
    • 71 Metascore
    • 90 Critic Score
    Broken Bells
    What makes Broken Bells such a compelling body of work is undeniably the result of the broad range of sounds that fill its palette. Although there are instances whereby each of the two conspirators come to the forefront, at no point does this sound like a Shins record with beats or a hip hop record with guitars.
    • 78 Metascore
    • 80 Critic Score
    The Winter Of Mixed Drinks
    In the broader context of British alternative music, it cements Frightened Rabbit at the creative peak of the folk-crossover scene.
    • 67 Metascore
    • 100 Critic Score
    Tomorrow, In A Year
    The focus is all in forcing just a tiny a glimpse of the endless vastness of life outside of our species. Plonk yourself down, and wait for it to wallop you.
    • 82 Metascore
    • 90 Critic Score
    The Monitor
    The Monitor, then, is a boisterous, eloquent argument that rock music need not be dumb in order to be enjoyable, moreover, that we should be questioning and analysing our heritage rather than precariously stumbling onwards. But mostly, it's just a stupendous collection of songs; one that demands to be listened to as loudly as you can possibly get away with.
    • 71 Metascore
    • 50 Critic Score
    jj no 3
    Far from implying that mind-expansion = mesmerising creativity, jj no 3 unfurls like it's going through the course of a drug-induced reaction.
    • 63 Metascore
    • 80 Critic Score
    Beat The Devil's Tattoo
    If there were ever a reason for Black Rebel Motorcycle Club's existence, this would be it, and despite the false dawns of albums past, Beat The Devil's Tattoo can hold its head high as their most compulsive body of work to date.
    • 74 Metascore
    • 80 Critic Score
    The Brutalist Bricks
    After the misfire of Living With The Living this is a content, relaxed record with nothing to prove. Ted Leo is a man un-fussily playing to his strengths.
    • 80 Metascore
    • 80 Critic Score
    The Besnard Lakes Are The Roaring Night
    Are The Roaring Night is by no means a perfect record, and there are minor flaws to stand alongside the frequent moments of brilliance, but what cannot be questioned is how skilled they are at shaping layers of sound to form an enveloping whole, with each overlapping texture or shifting tempo plunging the listener further and further into the darkness.
    • 85 Metascore
    • 90 Critic Score
    Quarantine The Past
    In other words, it’s exactly what a Pavement retrospective should be - a heavily slanted, palpably enchanted slab of richly flawed anarcho-pop.
    • 78 Metascore
    • 70 Critic Score
    A Sufi And A Killer
    Any attempt to give an accurate numerical mark to such an incongruous creature would seem slightly beside the point, so it’s enough to say that A Sufi And A Killer is hard but rewarding work – the more you put in, the more you get out.
    • 72 Metascore
    • 70 Critic Score
    Big Echo
    The result is a collection of pop songs with a good sense of both depth and dynamics.
    • 76 Metascore
    • 80 Critic Score
    Kairos
    Casey Dienel and partner Shawn Creeden have created something that has a sense of the familiar yet also a simultaneous feeling of fresh investigation, a record with frequent moments of measured and finely balanced beauty but also a restive application of shifting textures to create a nuanced patchwork of sounds that keep their piquant flavour with repetitive listening.
    • 58 Metascore
    • 70 Critic Score
    The Bundles
    As a collective effort, The Bundles offer a different kind of intimacy; the closeness of a tight-knit group of friends rather than emotive fervour of the individual confessional.
    • 71 Metascore
    • 70 Critic Score
    Mark The Hard Earth
    Drever’s voice is well-suited to the lyrical sincerity of the album but avoids being overly earnest. While sometimes a bit sentimental, Drever’s gentle declarations of loyalty are charming rather than trite.
    • 86 Metascore
    • 80 Critic Score
    This Is Still It
    Perhaps they're better this way, as a hidden gem to be stumbled across or searched out. It's certainly worth the effort, as they sure as hell don't make them like this any more.
    • 68 Metascore
    • 70 Critic Score
    Hands
    Hesketh can write a damn good pop song, and whether that’s what caused the initial buzz, it's something hard to deny when presented with the cold, hard proof of Hands.
    • 83 Metascore
    • 90 Critic Score
    Hidden
    Despite the handful of standout tracks, what makes Hidden unique is the way it flows as a cohesive whole.
    • 75 Metascore
    • 80 Critic Score
    The Bells
    The Bells is an excellent foothold into the baffling world of neo-classical composers. This is well worth a shot.
    • 67 Metascore
    • 60 Critic Score
    Scratch My Back
    It's a decent enough, darkly-shaded mainstream pop album, but the concept is distracting.
    • 71 Metascore
    • 80 Critic Score
    Fight Softly
    Fight Softly isn’t in the same league as Clouds Taste Metallic however, which, let’s face it, is among the very faintest of criticisms, but the fact remains that it is slightly hit and miss in places.
    • 72 Metascore
    • 80 Critic Score
    The Law Of Large Numbers
    Whereas Pollock’s 4AD debut was fairly charming and instant but a little slight, The Law of Large Numbers is the total opposite; a wonderfully simple, clever and loveable record initially masquerading as a complex and awkward one.
    • 47 Metascore
    • 30 Critic Score
    Almost Alice
    As a creative artefact however, its merits are limited, and does little, if anything, to contribute to Tim Burton’s creative vision.
    • 55 Metascore
    • 60 Critic Score
    Hologram Jams
    The vocal strength that he displays elsewhere on the album isn’t there. There is the decided feeling of potential not being realised.
    • 80 Metascore
    • 80 Critic Score
    Endless Falls
    Endless Falls is the most complete version of Morgan's vision for Loscil to date. It's an album that's easy to get lost in after a few cursory wanders into the ether, where the amalgamation of barely-musical sounds sucks you in and seems to produce something different every time.
    • 70 Metascore
    • 90 Critic Score
    Fire Like This
    What is different, however, is the focus the band have found. In the past, there's been an unfortunate tendency to take songs a chorus too far, but that doesn't appear to be an issue any more.
    • 76 Metascore
    • 90 Critic Score
    Come Down With Me
    Come Down With Me has solidified the band as their own entity; it has forged all of the disparate pieces of the past into something evergreen. There is no inclination to pander to any preconceptions of yore and this has now, undoubtedly, made Errors the force they always threatened to be.
    • 75 Metascore
    • 90 Critic Score
    One Armed Bandit
    On One-Armed Bandit they’ve mutated into an even stranger beast; a chimera constructed of parts from wildly different musics that somehow work as a whole and which should only really exist in the most fevered imaginations.
    • 76 Metascore
    • 70 Critic Score
    Similes
    [The] expansive and slightly melancholy tone which has always been at the core of his music does feel slightly constrained when he tries to squeeze it into a verse chorus verse structure: the best moments on Similes come when he simply lets it wander free.
    • 74 Metascore
    • 80 Critic Score
    Golden Archipelago
    It is more fluid, more subtle; as such, it pulls you in gradually, irresistibly, its icy black under-current taking hold when you least expect it.
    • 73 Metascore
    • 80 Critic Score
    Magic Chairs
    Magic Chairs is an album that understands the importance of harmonies, and the importance of the score.
    • 61 Metascore
    • 70 Critic Score
    Who Killed Sgt. Pepper?
    There will be those who'll look at the sleeve, read the controversial title and dismiss the record on the assumption that Anton Newcombe has lost his marbles again. However, venture beyond Who Killed Sgt Pepper's disparaging parameters and there's several exquisite gems to be discovered here.
    • 74 Metascore
    • 70 Critic Score
    Dear God, I Hate Myself
    Most of the remaining 11 songs on Dear God, I Hate Myself are built around sequencers and beats rather than guitars, and while they’ve by no means called off their flirtations with dramatic bursts of noise, they are only intermittent over the 38 minutes
    • 85 Metascore
    • 90 Critic Score
    Have One On Me
    It is a stunning and ambitious piece of work; one for the ages.
    • 71 Metascore
    • 80 Critic Score
    American Gong
    There's an inherently joyous delivery to them that offsets their recurring themes of age and mortality from start to finish.
    • 80 Metascore
    • 70 Critic Score
    Snakes For The Divine
    Although this doesn't quite scale the heights of their two previous LPs, "Death Is This Communion" and "Blessed Black Wings," it shouldn't be thought of as a point of no return. As ambassadors for metal, they remain near-peerless.
    • 83 Metascore
    • 80 Critic Score
    Luck In The Valley
    Luck In The Valley is a brilliantly strong record that reminds you both of Rose’s own majestic ability, and the playful power of these seemingly ancient and ‘primitive’ musical forms, something Rose understood as well as anyone.
    • 68 Metascore
    • 60 Critic Score
    The Magician's Private Library
    Holly Miranda makes nice music, sometimes really pretty, but it doesn’t say anything real or move emotions to anywhere even nearing an extreme. As a result The Magician's Private Library fails to tick that most important box: evocative.
    • 72 Metascore
    • 80 Critic Score
    White Hills
    This isn’t an album to expand musical horizons, as much as it might expand a few minds. Yet it’s deeply enjoyable and more often than not thrilling to hear a band mouthing “We don’t care” over and over before showing two riff shaped fingers to the naysayers.
    • 72 Metascore
    • 60 Critic Score
    European
    You expect there to be an abundance of vibrancy and passion on European, the band’s third release; though tempered by doubt and restraint, emotion lies beneath the layers of onion peel in the grey gutter of sadness.
    • 63 Metascore
    • 40 Critic Score
    Falcon
    The problem isn’t in the songs themselves – there are plenty of choruses to sing along to, and some interesting lyrical snippets – it’s just that Fray has made such an effort to prove that he’s more than a swaggering Gallagher-ite that he smothers the record and doesn’t allow it to breathe.
    • 68 Metascore
    • 50 Critic Score
    Sigh No More
    Despite any popularity which may come their way, what Mumford & Sons have produced in Sigh No More is nothing more than an empty shell of a half-decent record.
    • 76 Metascore
    • 70 Critic Score
    Falling Down A Mountain
    Through his Tindersticks outlet - now a staggering 18 years young--has created a record that certainly rivals, if not betters any of its three predecessors from the past decade.
    • 72 Metascore
    • 70 Critic Score
    Life Is Sweet! Nice To Meet You
    Life Is Sweet! veers so frequently from densely orchestrated to intimately raw and back again - often within the same tune - these little throwaway breaks tend to work as conveniently placed little palate cleansers.
    • 70 Metascore
    • 80 Critic Score
    Minor Love
    Minor Love is a record of succinct pop ditties, with only three clocking in over 150 seconds long.
    • 78 Metascore
    • 70 Critic Score
    Kollaps Tradixionales
    It pretty much wouldn't be a Silver Mt Zion record if it didn't have a pretty-much-impossible-to-understand conceptually connected section at one or more points. Tracks four to six fit this bill, being alternate spellings of the album title.
    • 79 Metascore
    • 80 Critic Score
    Field Music (Measure)
    For something so sprawling, Field Music (Measure) is impressively cohesive, particularly when considering the styles of the two brothers are more distinctive than ever.
    • 80 Metascore
    • 80 Critic Score
    Gorilla Manor
    Reportedly taking as much time to arrange harmonies as write the music, Gorilla Manor is a definite labour of love, and you know what they say; you get out what you put in. Though it may not be revolutionary, for me, this album is a little gem.
    • 65 Metascore
    • 30 Critic Score
    Presidence
    Pursuing new directions and seeking out new sonic soundscapes is all very well, as is jamming and wailing for 30 minutes and holding 17 hour gigs. However to merely shove over two hours worth of randomly selected work onto two discs with no attempt at continuity or direction is lazy at best.
    • 68 Metascore
    • 50 Critic Score
    We Are Proud Of Our Choices
    It’s a decent snapshot of that nebulous minimal-not-minimal sound at present.
    • 78 Metascore
    • 70 Critic Score
    Odd Blood
    So yeah, maaaaybe Odd Blood isn’t quite the hive of unfathomably exotic treats that a few of the tracks might have initially suggested. Having given us time to prepare for the fact they’re quite the different band from All Hour Cymbals, Yeasayer Mk II have also given us time to realise that Odd Blood probably isn’t likely to go down as their defining statement.
    • 79 Metascore
    • 70 Critic Score
    One Life Stand
    They’re not badly written songs, but as the band contentedly set sail towards genteel Robert Wyatt-esque pop-soul balladry, fans might be left back on the shore wondering what happened to the idiosyncratic Hot Chip they fell in love with.
    • 78 Metascore
    • 90 Critic Score
    I'm New Here
    Whether these 15 tracks have helped him lay some demons to rest is impossible to say, what’s beyond all doubt however, is that I’m New Here is a seriously good record.
    • 72 Metascore
    • 60 Critic Score
    Heligoland
    Although much of Heligoland suggests that Massive Attack might finally have burned out, the glowing embers of what they once had can still be glimpsed providing a light in the dark.
    • 71 Metascore
    • 70 Critic Score
    Causers of This
    While Causers Of This appears lo-fi on a superficial level with its rough, oversaturated sound quality, it's evident that Bundick has achieved a level of familiarity with his tools which goes way beyond awkward, sophomoric fumbling.
    • 83 Metascore
    • 90 Critic Score
    Black Noise
    Black Noise manages to navigate the tightrope of expectation and creative vision with aplomb. It’s rich and meaty, the kind of album you can really get to know over a long period of time.
    • 73 Metascore
    • 70 Critic Score
    Earthology
    From one angle Earthology could be regarded as indigestibly worthy and academic, and there are moments such as the bamboo-beating 'Ntu' which will definitely test the patience of the casual listener. Yet there's still a funk of an admittedly spaced-out ilk at the album's core.
    • 72 Metascore
    • 80 Critic Score
    The Courage Of Others
    A resolutely minor key offering, it’s even less instantly gratifying than before, precipitating its one central flaw: that these songs unfold at a leisurely pace – growing in stature as they progress from unassuming beginnings to sweeping crescendo – is admirable, but a touch overwhelming; even a little daunting on first exposure.
    • 37 Metascore
    • 50 Critic Score
    Rebirth
    Lil Wayne’s status and influence is now clearly working against him, the choice to release a rock record has backfired, yet obviously no-one has had the guts or inclination to tell him that the overblown choruses and riffs of Rebirth drag him away from the in-your-face lyricism and unorthadox flows that he is best at.
    • 74 Metascore
    • 80 Critic Score
    The Soft Pack
    It’s done brilliantly, with no frills, no ego, no sense of homage (just some damn fine influences), no fat, no bullshit, nothing bar hooks, energy and a certain air of ineffable sadness for good measure. Sometimes you need to believe a scene or movement will save your life. Other times, there’s nothing wrong being casually blown away by a record like The Soft Pack.
    • 69 Metascore
    • 60 Critic Score
    A Chorus of Storytellers
    A Chorus Of Storytellers fits in quite succinctly alongside its predecessors, and while perhaps not scaling the skyscraping heights of An Orchestrated Rise To Fall or In A Safe Place, doesn't rally represent a decline in standards either.
    • 83 Metascore
    • 70 Critic Score
    Blackjazz
    Theirs is a career of true progressiveness, in every sense of the word. What was hinted at in parts on 2007's Grindstone has been, bettered, battered and even bludgeoned. Chalk up another one for Norway, then.
    • 43 Metascore
    • 30 Critic Score
    For the Masses
    This aggressive tone is a constant throughout and pretty much breaks new boundaries in sounding absolutely ridiculous.
    • 81 Metascore
    • 70 Critic Score
    Strange Keys To Untune Gods' Firmament
    For all that pomp and bombast, it does remain difficult to fully engage with a record like this, and Strange Keys is never an effortless listen. Nor is it an entirely effective record.
    • 77 Metascore
    • 70 Critic Score
    Unicorn
    The whole record comes in at almost exactly 30 minutes - a nice round number that allows for ten songs of in and around three minutes each - which keeps it punchy and makes the whole thing move: no time to get bored, here comes the next song, anyway
    • 75 Metascore
    • 40 Critic Score
    In Search Of Stoney Jackson
    In the end, perhaps In Search... is just so inbred it’s capable of little more than frenzied tail wagging on a podium - its maniac tongue lolling --all eager and expectant that someone will pin a rosette to it just for having a nice shiny coat.
    • 80 Metascore
    • 60 Critic Score
    IRM
    IRM is an album that refuses to cast Gainsbourg as the chanteuse some would like to see her as, and her willingness to gamble with her persona and musical style is laudable. However, this risk-taking attitude results in an inconsistent jumble of ideas that ends up being much less of a peek inside what it is to be human than the title might suggest.
    • 75 Metascore
    • 80 Critic Score
    Romance Is Boring
    Their sloganeering, haughtiness and mocking dismissal of their dislikes will always remain contentious, but never suggest they don’t mean it. This matters more to them than it does anybody else; Romance is Boring is the openly flawed but often brilliant proof.
    • 82 Metascore
    • 70 Critic Score
    Teen Dream
    Teen Dream is kind of MOR, it would go down a treat at a dinner party, there are boring bits and the doleful DIY magic of the debut seems to have more or less run out. But it’s shot through with more than a handful of heartstoppingly wonderful moments.
    • 82 Metascore
    • 90 Critic Score
    There Is Love In You
    In There is Love in You we see one of the last decade’s most early pioneers reminding us all that he’s still just as important as ever.
    • 73 Metascore
    • 70 Critic Score
    Eggs
    With Eggs, Oh No Ono have created an album that, like Animal Collective's Merriweather Post Pavilion this time last year, allows you to forget the last vestiges of snow outside and look towards the summertime.
    • 72 Metascore
    • 80 Critic Score
    Realism
    Who knows what's real and what's not, but The Magnetic Fields write Great Pop songs, and this means a lot.
    • 64 Metascore
    • 70 Critic Score
    The Flexible Entertainer
    There’s a relentless energy to the music, a beguiling mix of song styles that, on paper, shouldn’t work...but does.
    • 82 Metascore
    • 70 Critic Score
    Couple Tracks: Singles 2002-2009
    Those who don’t want to trawl ebay and other such sites for the out-of-print singles will be happy to have these fabled tracks available to them. It’s just a shame that a release a mere month ago would have allowed more people to fit 'David Christmas' on their festive playlists.
    • 66 Metascore
    • 60 Critic Score
    Campfire Songs [Reissue]
    The 2003 Campfire Songs EP - re-released here in both CD and digital format - is at once an intriguing, beguiling and ultimately frustrating record. For a band certainly not averse to a little sonic experimentation, Campfire Songs remains Animal Collective’s most ambitious statement to date.
    • 73 Metascore
    • 70 Critic Score
    Dream Get Together
    It's nice, pretty sounding brain candy, sugar-coated technical ecstasy. But it sometimes leaves the listener wanting a bit more substance and a little less style.
    • 72 Metascore
    • 80 Critic Score
    Heart Of My Own
    Folk can be a notoriously intransigent genre, and Basia Bulat probably occupies the less user friendly end of the spectrum, but for those who like an album which grows and reveals its treasures slowly, A Heart of My Own is gold.
    • 81 Metascore
    • 70 Critic Score
    Boca Negra
    Boca Negra isn’t an album that’s easy to get acquainted with — this is music designed to induce a fundamental paradigm shift in our expectations of what a band can be and how they should operate, with two accomplished players bringing agitation and affection together at an uneasy meeting point.
    • 73 Metascore
    • 70 Critic Score
    Harvey Milk
    Harvey Milk has been referred to as The Bob Weston Sessions for some time; the remaster given to its ten songs serves to emphasise, rather than undermine, Weston’s keen ear for the dramatically heavy.
    • 60 Metascore
    • 60 Critic Score
    No Hope, No Future
    The main problem with No Hope, No Future, though, is that very little here stands out above the accepted and expected norm. At times, there's a feeling Good Shoes have almost resigned themselves to a destined state of mediocrity.
    • 82 Metascore
    • 70 Critic Score
    Erland And The Carnival
    It’s easy to see them as a very promising one act; a band taking familiar styles and crafting them into a memorable, accessible whole, with a strong stream of creativity flowing throughout.
    • 79 Metascore
    • 60 Critic Score
    Origins [EP]
    The strength of ‘Out From Under’ exposes the weakness of the rest of EP; everything is terribly impressive and texturally nuanced etc, etc, but there is not much of anything to drive the tracks towards a satisfying resolution that would make you want to listen again.
    • 59 Metascore
    • 70 Critic Score
    In This Light & On This Evening
    Editors have crafted a bold statement of intent, one that hopefully suggests a continuingly bold future.
    • 80 Metascore
    • 80 Critic Score
    Transference
    Spoon are equally as enjoyable, and perhaps that bit more intriguing, when they are a little bit harder to fathom. Plus, to put it simply, there ain't a duff track to be found here.
    • 71 Metascore
    • 80 Critic Score
    End Times
    End Times is a break-up album that lashes relationship breakdown onto societal collapse, and rarely has Everett sounded so plaintive, so utterly broken down.
    • 80 Metascore
    • 80 Critic Score
    Real Life Is No Cool
    We have instead been blessed with an embraceable record from a contemporary dance music auteur and a partner who proves a skilful wingwoman.
    • 79 Metascore
    • 80 Critic Score
    My Dinosaur Life
    Instead of concerning themselves with matters out of their control, Motion City Soundtrack have knuckled down and at last knocked one out of the park.
    • 68 Metascore
    • 50 Critic Score
    Sweet Heart Rodeo
    On the one hand, it seems that she wants to stick to her roots and make a country record, yet on the other hand, she wants to put on her engineer hat and make an album that is sonically interesting.
    • 67 Metascore
    • 80 Critic Score
    The Betrayed
    Remarkably the chuck it all in and see what happens approach works, mainly because the superb sheen of production papers over any cracks. What we are left with is an inescapably solid album.
    • 81 Metascore
    • 60 Critic Score
    Contra
    Contra is a solidly entertaining, well-constructed album, and if people take to it, the tendency to mock the band will, I think, fade, simply because it doesn't have obviously unfashionable moments to feel uneasy about.
    • 76 Metascore
    • 80 Critic Score
    Heartland
    Whatever you care to call him, the man’s come up with the goods.
    • 81 Metascore
    • 80 Critic Score
    July Flame
    Slight discrepancies aside, July Flame triumphs when the music is stripped and Veirs' reflective folk-pop and country-folk songwriting comes to the fore. As it transpires, July Flame is a treasure trove for the wistful daydreamer.
    • 54 Metascore
    • 40 Critic Score
    Animal
    Overall Animal is a dumb album. Where it tries to be empowering and fun it comes off sounding like a spoilt brat singing the American Pie script through auto-tune.
    • 79 Metascore
    • 80 Critic Score
    Chant Darling
    There is enough in the moments which don’t quite astound to suggest that Lawrence Arabia is on the cusp of making a real classic of a record, until that time arrives, go check out ‘Beautiful Young Crew’ and drool at the prospect of an album which tops it not once but twice.
    • 84 Metascore
    • 80 Critic Score
    Fall Be Kind [EP]
    If Fall Be Kind is noticeably less hooky than "Merriweather Post Pavilion," it sounds just as ravishing, and offers an equally cohesive whole.
    • 64 Metascore
    • 80 Critic Score
    Til The Casket Drops
    Granted, there’s a dropped line or two (see the Katy Perry reference in the frankly appallingly saccharine ‘I’m Good’ and the misjudged Jamaican patois of ‘There Was A Murder’) but this remains an album with few weak points, and plenty of strong ones.
    • 81 Metascore
    • 70 Critic Score
    Waiting For You
    Waiting For You is hardly the kind of record that grabs and demands your undivided attention. Instead it offers gems buried deep amongst its cityscape’s gently fluorescing streetlamps and slow-moving traffic, crafting a distinctive, defiantly twenty-first century urban soul music that, given due care and attention, leaves an afterglow simmering long after the CD spins to a halt.
    • 79 Metascore
    • 70 Critic Score
    What Day Is It Tonight? (Trans Am Live 1993-2008)
    To the novice listener, it won’t make a whole lot of sense, fails to indicate any kind of coherence to their overall output, and is probably not the best place to get to grips with them (although where that would be is anyone’s guess). This, no doubt, is the whole point of Trans Am — to confuse and confound, to take inexplicable U-turns just to see what happens, to irritate and amuse at the same time, to lurch from incredibly catchy pop to attempting a critique of the war in Iraq in an instrumental format.
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