Critical Reception and Commercial Performance
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Inthemix | favourable |
| Rolling Stone | |
| Undercover | favourable |
Audio Out received acclaim from the Australian music press. Tim Cashmere of the Australian magazine, Undercover, states that the album is full of "catchy guitar-pop tunes more aimed at a generic market than Abrahams' club hit ." Tim Duggen of Rolling Stone magazine, states that Amiel could be Australia's answer to Jewel, "as the music melts into the background." Duggen's states "It is perfect pop in a way that only years of writing and production can produce, but it's also soulless and easily disposable." Ending the review, he states "It's light, it's sweet, but don't expect any revelations, just 11 fucking love songs." Australian dance music magazine, In the Mix, gave the album a "thumbs up for a sophisticated electronic pop gem", stating "If your a fan of pop then this record will exceed your expectations, for the more dance orientated crowd who are thirsty for more of the same old Amiel stuff, you may find yourself a little surprised at the change but still quite satisfied with quite a few tracks especially the Josh/Amiel collaborations."
Audio Out was commercially successful in Australia and Japan. In late August 2003, it debuted at number seventeen on the Australian ARIA Albums Chart. The album dropped out of the top fifty after five weeks and spent ten weeks in the top one hundred, leaving at number ninety-three. The Australian Recording Industry Association awarded the album a gold certification for shipping 35,000 copies. At the 2003 ARIA Awards, the album was nominated for "Breakthrough Artist - Album" and "Best Pop Release", but lost both awards to Innocent Eyes by Delta Goodrem. In Japan, the album debuted on the Japan Oricon Albums Chart in February 2004 and went to peak at number twenty. It spent nineteen weeks in the chart and sold an excess of 18,824 copies.
Read more about this topic: Audio Out
Famous quotes containing the words critical, reception, commercial and/or performance:
“It is critical vision alone which can mitigate the unimpeded operation of the automatic.”
—Marshall McLuhan (1911–1980)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“It is only by not paying one’s bills that one can hope to live in the memory of the commercial classes.”
—Oscar Wilde (1854–1900)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)