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9.0
108283
9.0 |
God Is In The TV
The music and words of Merrie Land hit so many targets, and with such precision, by turns grotesque and horribly emotionally exposed, that it’s never less than utterly compelling
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8.3
108294
8.3 |
Consequence Of Sound
The humble supergroup offer a groove-happy message of fear, love, and measured hope
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8.0
108300
8.0 |
The Irish Times
On this near-perfect second album, Albarn yet again proves to be streets ahead of the pack
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8.0
108335
8.0 |
Evening Standard
Downbeat musical feel allows for greater focus on the lyrics, which mourn a country that is changing for the worse
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8.0
108371
8.0 |
musicOMH
How indeed we did get here is something that will no doubt be puzzled over for years to come, but Merrie Land feels like the perfect soundtrack for these uncertain, worrying times
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8.0
108284
8.0 |
Mojo
If any art is currently encapsulating the sense of "wrongness" abroad in our land, this is it. Print edition only
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8.0
108285
8.0 |
Q
Works best when these sounds and visions come together in an impressionistic haze. Print edition only
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8.0
108278
8.0 |
Clash
Albarn, Simonon, Allen and Tong end an eleven year absence with a stirring reflection on a wounded nation
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8.0
108279
8.0 |
The Line Of Best Fit
Damon Albarn really knows when to pick his moments – but he’s outdone himself with this new record
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8.0
108281
8.0 |
Loud And Quiet
As a comment on polarised Britain, ‘Merrie Land’ is a relatively muted gesture, just as unlikely to turn hearts and minds as it is inspiring to those opposing Brexit. As a mirror held up to the country at a time of crisis by one of its sharpest observers, though, it’s a record of note, full of intrigue, intimacy and calmly assertive, greatly needed dissent
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8.0
108282
8.0 |
The Independent
Canadian crooner does what he does best on his 'most romantic album to date', while Damon Albarn's supergroup release their first album in 11 years
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8.0
108308
8.0 |
Drowned In Sound
One of the quiet highlights of the year
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7.5
108498
7.5 |
Pitchfork
On its first album in 11 years, the Damon Albarn-fronted supergroup tackles Brexit head on. In his “Anglo-Saxistentialist” reckoning, false nostalgia imperils a true vision of British identity
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7.0
108664
7.0 |
PopMatters
As a reflection on Brexit, the Good, the Bad & the Queen's Merrie Land succeeds through musicianship whilst fear and concern permeate its messages on England and Englishness amidst uncertainty and departure
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7.0
108286
7.0 |
Uncut
There's a fine line between the sincerely wistful and contemplative and the nostalgic and morose, but Merrie Land understands where the borders are and stays within them. Print edition only
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6.0
108306
6.0 |
The FT
Damon Albarn’s supergroup returns to explore a changing Britain
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6.0
108299
6.0 |
The Guardian
The combined presence of Albarn’s organ and flattened voice, Paul Simonon’s dubby bass, and occasional horns gives songs such as Nineteen Seventeen and The Truce of Twilight something of the mood of the Specials’ Ghost Town, but without that song’s almost hallucinatory clarity
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6.0
108319
6.0 |
NME
An album that plods through Brexit Britain at a meandering pace
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2.0
108280
2.0 |
The Arts Desk
A directionless dirge with tuneless, little boy lost vocals that is only likely to engage the discerning listener for long enough to reach for the “off” button
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