Hologram Jams | ||||
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Studio album by | ||||
Released | March 2, 2010 | |||
Recorded | 2009 | |||
Genre | Art punk, pop punk | |||
Length | 43:50 | |||
Label | Fat Possum Records | |||
Producer | John Goodmanson | |||
Jaguar Love chronology | ||||
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Hologram Jams is the second full-length studio album by Jaguar Love. It is the first release not to feature former drummer J. Clark.
In May 2010, Jaguar Love and the website Tracks and Fields ran a remix competition for producers to remix the song "Polaroids and Red Wine," with the winner having their remix included on the single release. [1]
Aggregate scores | |
---|---|
Source | Rating |
Album of the Year | 42/100 [2] |
AnyDecentMusic? | 4.1/10 [3] |
Metacritic | 55/100 [4] |
Review scores | |
Source | Rating |
AllMusic | [5] |
Alternative Press | [4] |
Christgau's Consumer Guide | [6] |
Drowned in Sound | 6/10 [7] |
Loud and Quiet | 2/10 [8] |
NME | [9] |
Pitchfork | 2/10 [10] |
PopMatters | [11] |
The Skinny | [12] |
Tiny Mix Tapes | [13] |
Hologram Jams was poorly-received by professional journalists, [3] with most of the criticisms pointed at the group's stylistic changes towards what some journalists found to be a cheap electronic sound, [8] [5] [14] an overly-sugary pop flavor, [10] [8] and a "target marketed" attempt to try to appeal to teenagers with its lyrics. [8] [10] [15] The Line of Best Fit went as so far to compare Hologram Jams to 3OH!3, [14] while reviewers from Pitchfork , Spectrum Culture, and The Skinny reported feeling exhausted from the album's overwhelming amount of noise and upbeat energy. [12] [10] [16]
Whitney's vocal performance on Hologram Jams garnered a mixed response. Loud and Quiet criticized it for ranging "between white boy skit and whiny primetime talent show hopeful" instead of sounding like a "banshee call for something belligerent" in his past works. [8] AllMusic suggested the synthesizers exaggerated Whitney's "dazzlingly shrill singing style and flare for dramatics" that turned off some reviewers of prior Jaguar Love releases. [5] On the other hand, Drowned in Sound called the singing a "saving grace" in an album with machine-programmed instrumentals where "songs are stuck on a loop." [7]
Hologram Jams's more decent reviews appreciated it as a fun dance record, [5] [7] [15] NME 's Kelly Murray particularly enjoying it as a satirical one. [9] The change towards a more electronic sound was also positively commented on by a few reviewers, [9] including Erin Lyndal Martin of PopMatters , who claimed it still had "the sheer energy the music puts forth and the exuberant elastics of Johnny Whitney’s vocals" while keeping it "fresh" with the use of synthesizers. [11]
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