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8.0
52014
8.0 |
Q
A lesson in expensive, expansive pop. Print edition only
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8.0
52028
8.0 |
Independent on Sunday
Suave synth duo Theo Hutchcraft and Adam Anderson take things in a darker and heavier direction
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8.0
52205
8.0 |
The Digital Fix
There's a sense of reckless abandon second time around resulting in album highlights that surrender to the black
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8.0
52604
8.0 |
All Music
What's clear about Hurts on Exile is how skilled Hutchcraft and Anderson are at seamlessly incorporating their influences
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7.5
52044
7.5 |
The Line Of Best Fit
Exile careens towards the mainstream and is brimming with Top 40 hooks. They’re a pair with sights on pop megastardom
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7.0
52054
7.0 |
DIY
An evolutionary rather than revolutionary step for Messrs. Hutchcraft and Anderson, it nonetheless cements their place as mainstream pop's most daring and ambitious offering
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7.0
52018
7.0 |
NME
A record full of dramatic flourishes
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6.5
51999
6.5 |
BBC
Exile occasionally takes itself so seriously that it's hard not to smirk
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6.0
52001
6.0 |
The Guardian
Striding, anthemic choruses that turn even the most overwrought songs into unshakeable earworms
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6.0
52002
6.0 |
musicOMH
This desire to write songs that are bigger than their niche, that are pop enough to fill an arena but dark enough to stand out, just doesn’t deliver
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5.0
52019
5.0 |
Uncut
What romance they once had has been traded for a masochistic air. Print edition only
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5.0
52361
5.0 |
PopMatters
Exile isn’t as intriguing as it may think it is
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4.0
52024
4.0 |
The Observer
The duo's Ultravox-indebted synthpop continues to sound like melancholy as made by Topman
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4.0
52017
4.0 |
Mojo
Occasionally thrilling, often a little ridiculous. Print edition only
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4.0
52088
4.0 |
Clash
A chilling example of naked ambition prioritising production style over songwriting substance
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4.0
52666
4.0 |
Drowned In Sound
Substance isn’t a ballpark Anderson and Hutchcraft have any intention of playing in
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4.0
52292
4.0 |
The Irish Times
Hurts are taking themselves far too seriously for their own good
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2.0
52000
2.0 |
The Independent
Everything comes a distant second to style
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