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Bill Ryder-Jones


Fourth solo studio album by British indie singer-songwriter self-produced and featuring guest vocals from The Orielles and Our Girl

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  1. 9.0 |   The Digital Fix

    Another emotionally nuanced and seductive set of songs that will stand the test of time
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  2. 8.5 |   The Line Of Best Fit

    Bill Ryder-Jones’ star continues to rise on the superb Yawn
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  3. 8.0 |   The Skinny

    Bill Ryder-Jones returns with an immersive, melancholic fourth solo-effort retaining the sincerity and intimacy that have characterised his post-Coral work
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  4. 8.0 |   Q

    It's a stunningly assured, deeply romantic and already one of the year's best. Print edition only

  5. 8.0 |   Mojo

    Yawn is a sublime show of songwriting strength. Print edition only

  6. 8.0 |   Uncut

    Yawn is chilly and languid, the 35-year-old's penchant for sudden bursts if guitar noise giving depth and colour tot the Cure-ish gloom around "Recover," "John" and "No One's Trying To Kill You". Print edition only

  7. 7.7 |   Paste Magazine

    Ryder-Jones is trying to put himself back together throughout the lines of Yawn, but his affecting songs, nostalgia-swathed observations and unabashed vulnerability will inadvertently help you heal too
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  8. 7.0 |   All Music

    Yawn has its moments of beauty and craft, but the payoffs are so subtle and slow to arrive that its title becomes the regrettably inevitable reaction
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  9. 7.0 |   PopMatters

    Bill Ryder-Jones creates a dynamic sonic landscape for a personal invitation and dialogue just on the precipice of sleep with his latest album, Yawn
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  10. 7.0 |   Loud And Quiet

    To be sure, ‘Yawn’ offers few surprises, but near the close of the record tracks like ‘Don’t Be Scared, I Love You’ land harder through the accumulated weight of the album behind it, locking you into its woozy, late night motorway melancholia
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  11. 7.0 |   The Music

    Sombre, quiet and reflective
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  12. 6.0 |   The Irish Times

    His performance can still be a bit flat and featureless to keep listeners regularly coming back to Yawn, but the Englishman’s songwriting and arrangements are more fascinating than before
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