On EARS, Smith emerges as a novel, naturalistic and, yes, pop-savvy voice wielding an instrument known for esoteric experimentalism.
Listeners who luxuriated in Euclid’s new-age, lightly psychedelic vibe will find much to savor in Ears, where Smith refines and sharpens her songwriting significantly.
Focused without sounding rigid or confined, Ears is imaginative and alive.
The music feels less homogeneous, perhaps slightly more erratic, than on Euclid, but still with the overall feeling of beauty and future-looking exploration.
#1 | / | Norman Records |
#10 | / | Crack Magazine |
#10 | / | The Vinyl Factory |
#14 | / | Resident Advisor |
#18 | / | The Wire |
#29 | / | Pitchfork |
#30 | / | NPR Music |
#31 | / | God Is In The TV |
#33 | / | Double J |
#35 | / | Clash |