As a seasoned iconoclast of alternative British rock, former Soft Boys guitarist Robyn Hitchcock has an impressive if somewhat scattered discography. After the Byrds-influenced post-psychedelic jangle of the Soft Boys came to a grinding halt in 1981, Hitchcock went on to establish a solo career with nearly 20 erratic albums of varying standards, all of which are harnessed by his proclivity for sharp, surreal lyrics and experimental yet accessible song structures. Goodnight Oslo, the second album Hitchcock has recorded with the Venus 3 (a cast of rock veterans including Peter Buck and fellow R.E.M contributors Scott McCaughey and drummer Bill Rieflin) falls in the center of the discography pack, nipping at the heels of Hitchcock’s better moments from the last three decades, such as Fegmania! (1985) and Olé! Tarantula (2006).
Never shy of incorporating a wide range of styles into his music, Hitchcock mirrors his influences with thoughtful enthusiasm while throwing his characteristic sardonic humor into the mix. As usual, echoes of Syd Barrett, the Beatles, and Television Personalities are heard frequently. Yet Goodnight Oslo is a capricious affair, veering from big band grandiosity to quirky pop and rollicking country ballads. Just as the content darts around stylistically, so does the overall quality of the songs. "Your Head Here", for example, is a wonderfully dynamic combination of Fall-esque half-spoken/half-sung monologues, driving beats, and vague guitar chords which provide an ideal platform for Hitchcock’s wry lyricism. After such a magnetic highlight, the disappointment of the following track, "Saturday Groovers", comes as a stiff blow. Suddenly we’ve gone from solid, enigmatic, and well-developed songwriting to a kitschy singalong in the style of Herman’s Hermits!
It’s a shame these rough patches rear up from time to time, because there is plenty of great material on Goodnight Oslo. The common problem with musical prolificacy on the scale of an artist such as Robyn Hitchcock is that the musician is in danger of forgetting to pluck the weeds from a field full of flowers. Strong tracks such as "Up to Our Nex" or "Sixteen Years", which has a beautiful, spiraling guitar line and pensive harmonica interlude, tends to upstage rather than compliment the tepidity of "TLC" or the pub rock sounding jam of opening track "What You Is".
Hitchcock has a vibrant, accommodating and well-explored musical aesthetic, and it’s always reassuring to hear more mature artists continuing to experiment and develop throughout an ever-expanding canon. However, one gets the feeling that with a little more ruthlessness about what makes the final cut, Goodnight Oslo could offer more hits than misses. As it is, it falls just a little short.
— Mia Clarke, February 13, 2009