The experience and emotions tied to listening to Kid A are like witnessing the stillborn birth of a child while simultaneously having the opportunity to see her play in the afterlife on Imax.
The Avalanches have managed to build a totally unique context for all these sounds, while still allowing each to retain its own distinct flavor. As a result, Since I Left You sounds like nothing else.
What they've constructed here is a new kind of electronic pop-- one which is machine-generated and revels in technology but is also deeply human, never drawing too much attention to its digital nature.
With the help of co-producer Jon Brion, West has taken his jumbled personae, buoyant enthusiasm, and vision for the grandiose, and transformed his chattering, seemingly unrealistic ideas into an expansive, imperfect masterpiece.
Radiohead's sudden willingness to embrace their capacity for uncomplicated beauty might be In Rainbows' most distinguishing quality, and one of the primary reasons it's an improvement on Hail to the Thief.
Massed vocals and backing harmonies are two of the few things the National have added to their sound since their last album, and though Alligator is satisfying and engaging, it's not quite as bracing as their stellar sophomore outing, 2003's Sad Songs for Dirty Lovers.
What's perhaps the most remarkable thing about the truly remarkable Veckatimest, however, is how very exciting much of it is; no small feat for a painstaking chamber-pop record that never once veers above the middle tempo.
Not all music needs to be built to last, but Voodoo was designed and willed and technically optimized to be a testament for the ages; it captures empty space and heartbreak as well as it does rim shots and joy. The grooves deepen.
The resulting 2xCD set captures urgent and imaginative songs that reorganize 4AD haze, off-kilter indie pop, crashing garage-punk, forward-leaning krautrock, and hypnotic Kranky ambience into a singular-sounding call-to-arms.