| Rating |
Summary |
|
| n/a by Rolling Stone |
For listeners who like their music loud and fierce and pissed off at just about everything, there aren't too many better options than The Slip. Plus, the price is right. |
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| n/a by www.adequacy.net |
All in all this is a great album. |
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| n/a by Pitchfork Media |
Instead of a symbolic death, The Slip feels much more like a possible rebirth. |
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| n/a by Popmatters |
While the music may look backward, the way it has been released looks forward, to a far greater extent than Ghosts I-IV ever could have hoped. |
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| n/a by www.slantmagazine.com |
Individual songs on The Slip aren't particularly dynamic; the album has two levels: loud and soft. |
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| n/a by NME |
The album itself follows the thread started on 2005s With Teeth, which is to say Reznors again favouring songs over soundscapes. |
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| n/a by www.drownedinsound.com |
Four albums in thirteen months may have led to a case of familiarity breeding contempt, but it still feels like the first half of this album is treading water from a songwriting point of view. The second half is a fine musical journey, and if this were a vinyl record (it soon will be) then maybe you'd just put side two on repeatedly. |
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| n/a by www.spin.com |
The Slip is primo death funk, with Reznor seething seductively about skies fading to black over grinding soundscapes that perfectly split the difference between computer-music clarity and live-band grit. |
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| n/a by www.avclub.com |
The hard-hitting early tracks '1,000,000,' 'Letting You,' and 'Discipline' are particularly good, though typical; Reznor keeps farming the same fertile ground that yielded The Slip's predecessors. |
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