Consent

Editorial Reviews

All Music Guide - Tim DiGravina
A minor improvement over Waiting, this third offering from the Devlins follows much the same formula as the album that preceded it. Except in the two gorgeously lush songs that open the album, and in a small number of other songs, Consent's success is hindered by Colin Devlin's talky vocal delivery. This time out, the Devlins handle the production on their own, and in doing so, they process Colin's vocals to a point of unnecessary blandness. It's a mystery as to why, since Colin showcases a fine range and an organic tenderness when his voice is left to its own devices on the title track. He reaches for delicate high notes and hits them endearingly. But it's a pity he ...
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Editorial Reviews

All Music Guide - Tim DiGravina
A minor improvement over Waiting, this third offering from the Devlins follows much the same formula as the album that preceded it. Except in the two gorgeously lush songs that open the album, and in a small number of other songs, Consent's success is hindered by Colin Devlin's talky vocal delivery. This time out, the Devlins handle the production on their own, and in doing so, they process Colin's vocals to a point of unnecessary blandness. It's a mystery as to why, since Colin showcases a fine range and an organic tenderness when his voice is left to its own devices on the title track. He reaches for delicate high notes and hits them endearingly. But it's a pity he doesn't experiment more with his vocals on the remaining songs. That's not to say that the Devlins haven't matured musically. Where they sought bombast and scruffiness on Waiting, here they allow their guitars and keyboards to shimmer and glisten. Nowhere do the critical comparisons to Talk Talk resonate more than on the opening track, which is an obvious musical successor to the jazzy, fractured Laughing Stock. "Static in the Flow" is just as compelling, though clearly more commercial, with a fine keyboard and strings motif ripped straight out of the Cure's songbook. On the remaining tracks, the Devlins continue their Joshua Tree-lite fascination, touch on the bedroom folk electronics of David Gray, and simply continue on the subdued path they'd started with Drift. Certainly more lush than their previous creations, Consent is an album with fine high points that sees the Devlins maturing and experimenting, but ultimately marring the album as a whole with the duo's adherence to one musical formula, some needlessly pretentious lyrics, and a stilted vocal delivery that's below Colin Devlin's abilities.
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Product Details

  • Release Date: 9/17/2002
  • Label: Nettwerk Records
  • UPC: 067003024822
  • Catalog Number: 30248

Tracks

Disc 1
  1. 1 Consent (4:48)
  2. 2 Static in the Flow (4:57)
  3. 3 There Is a Light (3:52)
  4. 4 Strangest Things (3:56)
  5. 5 In Seville (3:50)
  6. 6 People Still Believing (6:15)
  7. 7 Snowbirds (4:46)
  8. 8 Montreal (4:01)
  9. 9 Metro (1:22)
  10. 10 Wide Open (4:35)
  11. 11 Five Miles to Midnight (4:10)
  12. 12 Vertical (5:13)
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Album Credits

Performance Credits
The Devlins Primary Artist
Matt Chamberlain Drums
Sean Devitt Drums
Dave Kershaw Hammond Organ
Daniel Lanois Keyboards
Colin Devlin Guitar, Piano, Keyboards, Vocals, fender rhodes
Peter Devlin Bass, Drums, Keyboards, Double Bass, Sampling
Tim Weller Drums
Robert Bell Percussion, Keyboards
Technical Credits
Jon Astley Mastering
The Devlins Producer
Alan Friedman drum programming
Dave Kershaw Engineer
Mark Hawley Engineer, drum programming
Marcel VanLimbeek Engineer
Rob Kirwan drum programming
Peter Devlin Programming, Engineer
Robert Bell Producer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Pure Devlins, Clear and True

    The Devlins distinctive sound, driven mainly by Colin Devlin's unique style, grows on you more and more with each play. His soul-penetrating voice ranges from clear and true on "There Is a Light," to seductive on "Static in the Flow," to bemused worldweariness on the dry wit (or is it biting sarcasm?) of "Montreal": "You'll probably think my accent is sooo sweet." "Yeah, which war?" The Devlins make particularly good use of sampling to set the tone of this one, including the completely instrumental "Metro." Guitars, whether exquisitely moody and Spanish on one song, light and playful on another, or a bit harder and more intense (as toward the end of "People Still Believing"), demonstrate what power there can be in simplicity. There isn't a bad song on the CD, although I would have put "Consent" somewhere other than as the first track myself, just as a matter of pacing. It's one of those rare finds that you can play from beginning to end without reaching for the "skip" button, though, which is why I opted for the fifth star.

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