Sowas wie letzte, finale Wahrheiten versprechen The Indelicates aus Brighton mit dem Titel ihrer EP. Hoher Anspruch erstmal, die das zur Band mutierte Duo aus Simon und Julia Indelicate aber zumindest ansatzweise erfüllen kann. Mit tiefem Bass, ebensolchen Gitarren und resigniert gesungenem Text im düsteren Titelsong. Kostprobe: "Fanzine-writers write for broad-sheets, the poor man found their daughters wealthy, rebellion shores up for market, rebellion keeps the nation healthy." Auch die Indelicates jedoch sind weit ab von der besungenen Rebellion und kennen das aktuelle Indieeinmaleins. Den Beweis dafür liefern der im Vergleich eher roh gespielte Höhepunkt 'Sixteen' mit seinen etwas unkoordinierten Klaviertönen und der am Ende um sich schlagende Schwanengesang 'Heroine': "My heroine is on heroin. But not bad heroin, the good heroin that rockstars take."
The Indelicates produzieren jede Menge zitierfähiges Material für aktuelle Zustandsbeschreibungen der Musikindustrie. Nichts also mit der Ironie, die bei dem Titel vielleicht zu erwarten wäre. Bleibt zu hoffen, dass sich die Voraussage der Briten nicht bewahrheitet. Denn sonst könnten sie die Instrumente genau so gut schon jetzt in die Ecke stellen: "Everything that follows is a footnote, that we can turn to when we are... old, my love." (8/10)
Andreas Zagelow, soundmag.de [review | website]

The Indelicates are the perfect example of magnificent ridiculousness; the perfect epitome of the love/hate nature of Pop. They write songs that delight in throwing daggers at the music industry whilst clearly revelling in the seedy, decrepit glamour of it all. The Indelicates are pure Pop Art Terrorism; the sound of a group fully aware of the inescapable fundamental hypocrisy of their situation but battling on regardless because there is no other way. There is no option. They know the history lessons inside out, throw all the right references into the pot, and hold pistols to their collective heads. They have the sense to call their debut single ‘We Hate The Kids’ and their second ‘The Last Significant Statement To Be Made In Rock'n'Roll’. Simultaneously celebrating and damning hate, cynicism, glamour, art, sex and the politics of the terminally teenage, The Indelicates throw down the gauntlet, knowing full well there will always be someone there to pick it up and a million others to blithely trample it to ashes. The Last Significant Statement To Be Made In Rock'n'Roll? Of course, of course. Until the next last one, at least. We wouldn’t have it any other way.
Alistair Fitchett, Tangents [review | website]

Tour disc pubblicato in concomitanza con una breve serie di concerti tedeschi, "The Last Significant Statement" è la definitiva dichiarazione di ambivalenza da parte dei nostri amati Indelicati: un'impietosa critica ai meccanismi dell'industria musicale e al suo terminale desiderio di giovinezza convive con la piena appartenenza al baraccone pop e con le legittime aspirazioni di ogni indie band. Eppure in questo momento Simon e gli altri sembrano gli unici convinti di poter fare la differenza, di evitare che le crescenti richieste dello show business conducano loro e tutti gli altri aspiranti campioni all'inevitabile autodistruzione. Guidati dall'alternanza di chitarra e piano della coppia leader, con conseguente avvicendamento di rabbiosi rush elettrici e colorato uptempo pop, la cifra dei loro pezzi è tuttavia stabilita da testi graffianti e talmente autoesplicativi da non necessitare di alcuna parafrasi. Basterebbe riprodurli qui, in sequenza, per ottenere una fedele fotografia della band e della sua lucidissima capacità di analisi. Se il teenager – inteso come categoria merceologica – e la sua inevitabile estinzione sono al centro della title-track e dell'allegra "Sixteen", il talento della band si consolida nelle seconde linee: la delicata acustica di "Unity Mitford" - allusione alle striscianti manifestazioni di neofascismo - e soprattutto la versione live di "Stars", che su uno sfondo di rock da stadio declama i versi più romantici che sentirete uscire dalle lebbra di Julia a questo giro: "I'm in love with the boy next door/he treats me like a filthy whore".
Gli Indelicates sembrano attraversati solo da certezze e questo potrebbe renderveli antipatici, ma sono una delle poche band ad aver compreso la natura del baraccone indie. Il che li rende già oggi - e ben oltre i meriti musicali - una delle più splendide popbands inglesi. Ne riparleremo presto.
(Jay Jay) Salvatore, Indiepop.it [review | website]

Als wir The Indelicates im vergangenen Oktober interviewen durften, war nur zu hoffen, dass sie zu den Bands gehören würden, die es über kurz oder lang auch in Deutschland schaffen. Die laufende Tour ist ein gutes Zeichen. Der tragikomische und sehr britische Rock dieser Band durchzieht sich mit zahlreichen künstlerischen Fäden. Es geht um die Zukunft der Musik, Pete Dohertys Tod und schwingende Hüften. "The Last Significant Statement" legt den Fokus auf Bedeutungsschwere während "Sixteen" die Stimmung auf Ausgelassenheit umrührt. "This scene is the scene to be seen in, Not that the scene is what we’d be seen with/ We just wanna be 16 16 16 16".
Eine Frauen- und eine Männerstimme werfen sich die Bälle zu. Berührende, alberne Ohrwürmer über Sperma in den Haaren und Kokain in den Zähnen. Im Geiste des Rock’n’Roll wurde an den musikalischen Fertigkeiten nicht gleichermaßen gefeilt wie an der verkörperten Botschaft. Aber die klimpernden Pianos und zuverlässigen Gitarrenriffs werden den Texten gerecht. Der umfangreiche Downloadbereich der Bandwebsite lässt ahnen, dass einige Kracher fürs hoffentlich bald folgende Album zurückgehalten wurden. "New Art For The People". (7/10)
Sebastian Golla, crazewire DE [review | website]

You can express disillusion with the way pop is eating itself in two ways: a fuck-you-and-turn-the-amps-to-11 nihilism or a smart dissection of the problem using words like stanley knives. The Indelicates opt for the latter: whether it’s ripping apart the music scene in the title track (“everything that follows is a footnote”) or the attraction of drugs in ‘Heroin’ (“not the bad heroin/ the good heroin, that rock stars take”), their lyrics are clever and barbed. And they can rock too; ‘The Last Significant Statement…’ smacks you in the napper with its anthemic pop while ‘Sixteen’ has an amazing powerpop chorus. They’ve got a tendency to the epic: there are plenty of Queen or even Meatloaf moments but the arrangements are grounded by clever wordplay, or vice versa: ‘Stars’ starts as a twinkly ballad but is instantly subverted by Julia’s opening couplet: “I’m in love with the boy next door/ he treats me like a filthy whore”. As artpop goes, it’s damn fine stuff and the title is a contender for best title ever.
Ged M, SoundsXP [review | website]