What’s siller: Snow Patrol’s name, or their ever-cumbersome song titles? Discuss.

[Video][Website]
[4.14]

Kat Stevens: It seems they DO have to work again!
[2]

Pete Baran: I’m not sure what would constitute success in Snow Patrol’s world now. After years of no mark indie scrubbing, they made good, sold a boatload of records and made themselves a bit of a cliché in the process. Clearly, aiming for a stadium ballad is the path of least resistance, and accentuating their Scottishness is never a bad idea. Simple Minds wish they wrote a record this introspectively bombastic; up until now we were all glad they hadn’t.
[3]

Iain Mew: Gary mangles “don’t keel over” until it sounds like the “tjyuuuuuuuu” from Sigur Rós’ “Svefn-G-Englar,” and, with walls of brass and guitar feedback behind, Snow Patrol actually come somewhere close to replicating its colossal scale. The rest of the song is likable but I wish that they’d taken the mammoth soundscape approach further. I guess that would have been a bit of a misstep on the commercial comeback trail.
[6]

Alfred Soto: These self-professed Pet Shop Boys admirers have a talent for mangling everything in sight: song titles, the correct pronunciation of “kill,” the Killers, hair, piano, girls, boys.
[2]

Jer Fairall: That titular sentiment lands with poignant, encouraging grace the first time we hear it, but becomes mawkish and overstated with each repetition. The music, beginning in chiming melancholia before escalating to string-laden pomp, is, similarly, a model of overstatement, effectively overcompensating for whatever malady faces their subject.
[5]

Brad Shoup: Not that our little transatlantic hitmakers care, but I was wondering if there’d ever be another Snow Patrol song I’d love without reservation. They’ve dropped a wallop of empathy, a you’re-too-good-for-him-girl pep talk without a hint of ulterior motives or platitudes. The singer’s hip to the exhaustion involved in simple thinking, which goes a long way toward staving off any feeling of condescension. So, too, does the careful deployment of epic elements, like the final-minute Arcadian chorus and guitar buzz, Lightbody’s exemplary reading, and that cinematic close of strings. It’s enough to make one forget the whole thing started off like Counting Crows’ “Round Here”.
[8]

Jonathan Bogart: Hooray for reliably-selling inspirorock bands having the budget to make short films with the visual wit and ambiguous narrative of a Borges short story. Pity they couldn’t dispense with the inspirorock and let the video be soundtracked by the tango it should have been.
[3]