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8.0
10795
8.0 |
Daily Telegraph
A headily atmospheric and inspired combination of humid, late-Seventies, early-Eighties Latin-tilted beats and lyrics you actually want to think about
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8.0
10829
8.0 |
The Times
Byrne called Fatboy Slim to help him to create something that avoids the “evening-length arc” of a musical or opera in favour of “the rise and fall of the DJ’s beats and tracks in a dance club”
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8.0
10870
8.0 |
Independent on Sunday
The majority of these star turns, among them Roisin Murphy, Tori Amos, Martha Wainwright and Natalie Merchant, are quite charming
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8.0
10890
8.0 |
NME
Print edition only
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8.0
10910
8.0 |
Q
Print edition only
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7.0
11456
7.0 |
Blurt
With Byrne's patented Tropical lilt and Fatboy's beats added to the music's snazzy patina, the whole affair comes across as equal parts Latin tele-novella and Evita
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7.0
10853
7.0 |
PopMatters
An impressive work that certainly shows the marks of five years’ worth of refinement
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6.0
11231
6.0 |
Eye Weekly
Natalie Merchant steals the album with a haunting turn on “Order 1081”, while a duet between Cyndi Lauper and Tori Amos on “Why Don’t You Love Me” blends Broadway with Sade
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5.3
10976
5.3 |
Beats Per Minute
The album is bloated by a number of clunking “plot drivers” and the inescapable feeling that this should never have been heard outside of the theatre; at least not in its full incarnation
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5.0
10954
5.0 |
Pitchfork
Devote an hour-and-a-half to this? Why? You could listen to Remain in Light twice with time to spare. Or just play "The Rockafeller Skank" 13 times in a row
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5.0
10847
5.0 |
The Observer
A frustrating concept album, full of placeless music, lyrical platitudes and a surfeit of singers
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4.0
10899
4.0 |
Mojo
Print edition only
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4.0
10800
4.0 |
The Irish Times
It's hard to pick out the energy and style of either musician in this odd musical confluence... Oddly disappointing
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2.0
10843
2.0 |
The Sunday Times
Byrne’s cheerleaders will no doubt hail it as insightful and daring, but it isn’t. It’s glib, repetitive and smug
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