Sound — 8
With numerous break ups, solo albums and other band commitments, The Posies' work rate has only been coming through in trickles, and 'Blood/Candy' is their first in 5 years, since 'Every Kind of Light', which was propelled with its use in Windows Vista. 'Blood/Candy' is a fine comeback, a 60/40 split between consolidating their strengths and wonders through new dimensions, which is admirable considering its sporadic completion. The major label hard grunge of 'Frosting On The Beater', which seemed more tied-to-the-time rather than an indefinite career path, is mostly missing in favour of reflective acoustic rock and fuzzy, summery power pop.
Lyrics — 7
Lyrics have been a key point for The Posies, and Jon Auer and Ken Stringfellow provide the same wistfulness and longing in 'Blood/Candy' as can be found in previous efforts. Opener 'Plastic Paperbacks' fits in as many words as possible into one bar, and 'Take Care Of Yourself' also provides some quality angst.
Overall Impression — 8
Some tracks, most notably the Beatles-esque 'Accidental Architecture', recall the baroque pop of their finest hour, 'Dear 23', but there's also more that combine this with the hard edged rock of their Geffen years, most notably the finest track '...Of Yourself' and 'Cleopatra St.'. The added female harmonies of Kay Hanley on the mellow 'Glitter Prize' and Broken Social Scene's Lisa Lobsinger on 'Licenses To Hide' also help give the album a more sombre feel. Some tracks seem to get a tad samey as the album gets towards the end, but the quality of songcraft and the tightness of Stringfellow and Aeuer ensures that the strong tracks are memorable and impressive. A good comeback all round, although it's frustrating to have such a good band be so delayed on albums.