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Kevin Ayers - The Unfairground
| Stylusmagazine | | For anyone who has become immunized to the false dawns of that most debased of critical terms, the “stunning return to form,” it is only right and proper to approach the comeback album from Kevin Ayers with a certain wary skepticism. After all, it has been over thirty years since the run of inventive, idiosyncratic albums which won him his reputation—a run which was brought to an end partly by botched attempts to turn the deeply reluctant Ayers into a mainstream star, and partly by his own loss of confidence following the critical backlash which ensued. (The paradigm shift of punk which followed close on its heels didn’t help much either.)...full text |
| | Uncut | | Perhaps unsurprisingly, Kevin Ayers's first album of new material in 15 years is largely concerned with the passage of time, its songs reflecting on lost loves, wrong turnings and missed opportunities. Which isn't to say it's in any way downbeat or depressing in tone: there's an equanimity about the past that does Ayers credit, and which may be due in part to the relaxed Mediterranean lifestyle he's pursued for the last three decades....full text |
| | Allmusic | | These days we offer platitudes to a lot of musicians who come out of the woodwork to make a new stand on wobbly legs, or have genuinely brilliant work heard and recognized by more arduous music fans who missed it the first time around in passing, or younger folks who never had the chance in the first place. And rightfully so. It seems odd to place Kevin Ayers in this category, but he is perhaps the most enigmatic of all. Ayers, who along with Robert Wyatt and Mike Ratledge founded Soft Machine, left after its second album to pursue a career as a solo artist, releasing seminal psychedelic classics like Joy of a Toy, Shooting at the Moon, and Bananamour, to name just three....full text |
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