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[5.71]

Anthony Easton: This is all about the slightly Californian uptick on the final vowels, and how that affects how they sing oooh — it could be the Ronettes, but they mashed in a slightly sleazy synth track — and about how chic it is. It’s almost timeless. 
[7]

Alfred Soto: I’m unsure what she’d do without the syncopated guitar and keyboard lines — go crazy?
[4]

Patrick St. Michel: Simple but effective indie-pop, elevated a touch by just how good Au Revoir Simone’s singing is.
[7]

Brad Shoup: There’s half a great song here. The refrain is elegant, and the band assembles vast amounts of tension. But the tension is plowed into a low-mixed one-string solo, and if you’ll forgive the hackiness — is Au Revoir Simone’s definition of crazy riding one guitar line and expecting different moods? 
[5]

Jonathan Bogart: It is twenty-thirteen. You’re going to have to work harder to be interesting than that.
[4]

Edward Okulicz: I’m surprised Au Revoir Simone have made it to four albums without either breaking up or landing a minor hit single off the back of some movie (ball’s in your courts, Joseph Gordon-Levitt or Zach Braff). Would need a lot more actual buzz to pick up the metaphorical buzz to cross over, but I’m weak for the expansive outro and vocalists who remind me a bit of Nina Gordon.
[7]

Katherine St Asaph: The Au Revoir Simone album’s frustrating; it generally veers pretty where I’d prefer it to veer otherwise. (I may have gotten the wrong impression from track one.) Here’s a perfect example: pretty, certainly, but not crazed.
[6]