Bacchus | Philadelphia, PA United States | 02/14/2006
(5 out of 5 stars)
"Okay, I'm a latecomer to the Cranes' music. I love melodic ethereal angelic music, but hate wasting money on pointless generic ambient music which drifts prettily but evokes nothing but sleep.
This collection is heavenly. I suppose the negative reviews it's gotten from some listeners are due to the fact that the Cranes changed musical directions, to a place these listeners didn't appreciate.
With Alison Shaw's baby angel voice floating on clouds of sweet acoustic music this is a total delight. Listen to a sample or two. The CD is very consistent, with not a bad cut on it."
This is the greatest album.
kjacks | SF, CA | 03/15/2006
(5 out of 5 stars)
"this album got me through the toughest and most wonderful times of my youth. i don't think i'd be the person i am today, without it."
New is not necessarily bad
Paul Bates | Southborough, MA United States | 06/01/2004
(4 out of 5 stars)
"This album got a lot of bashing, mostly in comparison to previous work done by the band. All in all, it is a very toned down affair with two rockers. Jim's attempt at singing is a novelty, fun for a while, and thankfully limited to one track. But hey, we all slow down at some point. This was a prelude--a transition--from "Loved" to "Future Songs," and not a bad one at that."
Cranes - Population 4 (1997)
C. Planck | USA | 09/19/2006
(4 out of 5 stars)
"Droning guitars, ethereal female vocals. These are the reasons Cranes were marked as the latest shoegazer band. But immediately after their 1991 debut, Wings of Joy, they began to evolve. Even on Wings of Joy the Cranes struck a closer resemblance to the likes of the Cocteau Twins than they did My Bloody Valentine. To set it straight, Cranes were never a shoegazer project. If you needed anymore proof than efforts leading up to 1997's Population 4, the wait is over. It's rather odd that there seems to be more emphasis on the drums than ever, since lead song-writer Jim Shaw (formerly on drums) decided to switch to lead guitar for this album. But there is undoubtedly a newly found confidence. It's not that the album doesn't slightly slip from over-ambitiousness a time or two. But when highlights like the hard-hitting "Breeze" come into play, you know it. Vocalist Alison Shaw's child-like persona is still fully intact, if a bit easier to understand. Most noteably different is the guitars, ranging from soft acoustic pieces ("Tangled Up") to hard rock-tinged tracks ("Breeze") to even slight hints of metal riffage in "Fourteen". The song-writing isn't necessarily at the level of past releases such as 1993's Forever. But it was a step forward stylistically, and most importantly it is another great release from this very consistent and underrated band."