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6.0
125355
6.0 |
NME
A bulging guestlist – Stevie Nicks! Megan Thee Stallion! – belies the very ordinariness of the band's seventh album, which soars at its most introspective
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5.0
125387
5.0 |
Rolling Stone
Stevie Nicks, Megan Thee Stallion, and H.E.R. stop by to try to help Adam Levine elevate his game, but the lane remains the same
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5.0
125354
5.0 |
Clash
Continual evolutions has pushed them away from their roots, feeling less like a band and more like a committee, marking out different strategies without truly owning one themselves
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4.7
125406
4.7 |
Pitchfork
Maroon 5’s seventh album sets out to experiment beyond their comfort zone. It sounds like a band trying desperately to appeal to as many markets as possible
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4.0
125357
4.0 |
The Independent
Many of these songs are hip hop-lite, incorporating bland trap beats as Levine delivers lyrics in the kind of stutter pioneered by early Soundcloud rappers
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4.0
125370
4.0 |
Evening Standard
Auto-Tuned vocals and a long parade of big name guest vocalists make this sound like a band without clear identity
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2.9
125420
2.9 |
Paste Magazine
The new album from the pop superstars breaks impressively little ground
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2.0
125390
2.0 |
Sputnik Music (staff)
Every song layers Levine's singing/clumsy rapping over the most cringe inducing trap beats, and most of the time he sounds like a middle-aged stepdad trying to sound "hip" to get in good with his stepson
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2.0
125356
2.0 |
The Arts Desk
The emptiness of it all is genuinely harrowing – the sort of thing that JG Ballard-loving avant gardists strain to articulate
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1.5
125612
1.5 |
Spectrum Culture
Another in a line of Maroon 5’s creative bankruptcy despite being dedicated to their late manager, JORDI barely feels like an album; It sounds more like a financial scheme dressed up as heartless pop
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