Call the Comet Image
Metascore
77

Generally favorable reviews - based on 12 Critics What's this?

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7.8

Generally favorable reviews- based on 10 Ratings

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  • Summary: The third full-length solo release for the ex-Smiths guitarist was recorded at Manchester's Crazy Face Studios and features a future society at the brink of destruction that ultimately find help from "a different intelligence from the cosmos.'
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Score distribution:
  1. Positive: 10 out of 12
  2. Negative: 0 out of 12
  1. 80
    Call the Comet finds Marr in his element, making articulate, direct rock ‘n’ roll with an ultimately optimistic sense of purpose.
  2. Uncut
    Jun 13, 2018
    80
    It might be best to appreciate Call The Comet as a sublime soundtrack, possibly the most atmospheric, widescreen guitar album you'll hear all year. [Jul 2018, p.25]
  3. Jun 18, 2018
    80
    Marr offers a vision of a more humane, liberal future. While one Smith seems to have lost the plot, another has found his voice.
  4. 80
    This is a record steeped in both the chilly yearning of Bowie’s “Berlin” albums and Ziggy Stardust’s glam apocalypse, as well as the science-fiction paperbacks by the likes of JG Ballard which inspired them.
  5. Jun 15, 2018
    80
    Call the Comet is a tuneful, energetic collection of songs that evoke a youthful 54-year-old who still has plenty of good ideas up his sleeve.
  6. Jun 18, 2018
    80
    Call the Comet is a resounding success, the first of Marr’s three solo albums to feel properly crafted. The loose thread it follows is that, in turbulent times, even the simple act of picking up a guitar and making music is political.
  7. Jun 14, 2018
    40
    Songcraft is a problem throughout the album’s 12 bloated tracks, but the fact that they’re long isn’t the issue--Marr can, and has, held our attention before. It’s more that they lack conviction and structure.

See all 12 Critic Reviews

Score distribution:
  1. Positive: 2 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 0 out of 2
  1. Jun 15, 2018
    9
    Marr goes beyond the realm of his admittedly excellent last solo albums here, obviously more concerned with craft and atmosphere than radioMarr goes beyond the realm of his admittedly excellent last solo albums here, obviously more concerned with craft and atmosphere than radio airplay, with longer, more intricate songs that grab you from first listen and reward with repeated airings. Previously unheard tangents like the tribal throb of "New Dominions" are most welcome, and the tracks that build on past triumphs (the gorgeous "Hi Hello" is cut from the same sumptuous cloth as his previous song "New Town Velocity" and also pays tribute to Patti Smith's "Dancing Barefoot") go that extra mile with lacy layers of guitar that lesser talents wouldn't have thought of. The result is a rich, layered heaven with the smarts of previous outings merged with a sense of new adventure. As always, Mr. Marr is not resting on his laurels, and we the listeners are better for it. Expand
  2. Jun 16, 2018
    8
    Good songwriting. Sonically speaking it might be Johnny's most interesting solo record. Heavy emphasis on atmosphere but there are still hooksGood songwriting. Sonically speaking it might be Johnny's most interesting solo record. Heavy emphasis on atmosphere but there are still hooks left and right. My only complaint is that the production sounds a bit flat at times. Still, this should go down as one of the better guitar albums of the year. Expand