It Won't Be Like This All the Time Image
Metascore
84

Universal acclaim - based on 12 Critics What's this?

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  • Summary: The fifth full-length release for the Scottish indie rock quintet was produced by band's guitarist, Andy MacFarlane.
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Score distribution:
  1. Positive: 11 out of 12
  2. Negative: 0 out of 12
  1. Jan 14, 2019
    100
    It’s a determined, seductive experience, brimming with belief and completely torching everything they’ve done before. As of now, The Twilight Sad are basically untouchable.
  2. Jan 11, 2019
    100
    This is still the band we fell in love with over a decade ago: confessional, honest, enthralling. It's just that this time out they're sleeker and sharper than before.
  3. 95
    It Won/t Be Like This All the Time (IWBLTATT) is another dauntless step forward, unflinchingly embracing the core aspects of their sound, while boldly incorporating loftier ideas. It is not some grandiose attempt at a knockout punch or some cheap leap at the mainstream; you cannot fake sentiment, or force people to feel something. IWBLTATT is a laser guided arrow to the heart; an enveloping noise that chips away at you over time.
  4. Jan 17, 2019
    82
    This is their most listenable album, one that dials back the heavy-handed metaphors and overwhelming musical gloom for something more danceable and upbeat, though still dour as ever lyrically.
  5. Jan 18, 2019
    80
    There’s certainly nothing new about their sound and fury and throbbing basslines--they fit comfortably into a lineage stretching from the Cure and the Chameleons to the Killers and White Lies--but they have timeless, high-quality songs. The new ones are more direct and--potentially impacted by the death of their close friend, Frightened Rabbit’s Scott Hutchison--more impassioned.
  6. Jan 15, 2019
    80
    Their fifth album is anchored by thudding, motorik beats that create a dancier base on which James exorcises his deepest demons, and it’s an even more intense form of communication.
  7. Mojo
    Jan 11, 2019
    60
    Their initial torrid confluence of My Bloody Valentine and Joy Division here shapeshifts more towards "synth-assisted stadium nu-gaze," with odd Kraut-y hints of early Simple Minds, and frequent echoes of their new found patron: fune-real The Arbor is pure Disintegration, while shimmering Keep It All To Yourself has Kiss Me! Kiss Me! Kiss Me!'s hi-tech dazzle. [Feb 2019, p.88]

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