is that now they sound like they actually believe themselves capable of the highs and lows which previously they only toyed with". Cross Rhythms writer Paul Kerslake noted that it was not a "radical departure" from their previous work, "but what they do they do well". AllMusic reviewer Andrew Leahey said the band "still concerns itself with anthems" and "still has work to do in the lyrics department". Dan Cairns of The Sunday Times acknowledged that it was "pretty but predictable balladry," as the band "prove themselves masters of the style". Gigwise writer Jamie Milton noted that while the band kept to their "knack of delivering a sumptuous blend of guitar-driven pop and emotional balladry", the tracks "have no real meaning". The Guardian editor Will Dean shared a similar sentiment, stating that the lyrics "talk a lot without actually saying anything" and the music is "so all-encompassing that any charm is suffocated". PopMatters contributor Richard Elliott said there was "no denying a certain haunting quality to the music, but it’s a haunting largely carried out by the ghosts of pop’s past". Lauren Murphy of The Irish Times wrote that the majority of the tracks "are seriously in need of asteroid injection", while Slant Magazine Jonathan Keefe said it "adheres to a predictable formula and familiar emotional terrain". BBC Music reviewer Chris Jones said that while it "oozes with emotion, [and] with earnestness", it also had an "uncanny knack for the grand, empty gesture". Now writer Paul Terefenko said the "closest this popportunistic foursome comes to satisfying songsmithery is The Getaway, whose title is sound advice for potential buyers of this album". A number of reviewers unfavourable compared the band and the album to Coldplay. Leahey felt the band had "been left to pick up [Coldplay frontman] Chris Martin’s crumbs". Terefenko considered "Black Swan Song" to be the song that "captures the B-side Coldplay sound they channel on much of this record", which was echoed by Tim Wardyn of Ink 19. Keefe said the minor change in sound "ultimately result[ed] in a lackluster fourth record [...] that sounds like the work of the purely derivative band they’ve long been accused of being". Paste writer Justin Jacobs added to this, saying the band "joins the ranks of Coldplay clones [...] in a land of make-believe where every chorus is huge, every guitar plays only quarter notes and every song is about overcoming