In many ways, The Triad plays like the sum total of Pantha du Prince’s career thus far, uniting Weber's early minimalism with grandiose instrumentation and collaborative songwriting.
The Triad edges ever closer to the purely experimental, with another tentative step rather than a bold foray into the electronica wilds, but for now it’s a worthy diversion from the well-trodden paths of other techno producers.
The Triad is a satisfying reminder that Pantha Du Prince is still the best at what he does.
Unfortunately, we’re forced to accept what we’re given on The Triad, which is a lot of top-notch productions with a whole lot of shitty vocals. It would have almost been more satisfying if the productions were worse.
The Triad is not the type of album that holds up to any enthusiastic hype. It’s tone is quiet and tender, reserved beyond the point of typical downtempo standards, and its 10 long songs are agonizingly, excruciatingly tranquil. It’s a record that mutes listeners’ excitement by design.
#27 | / | PopMatters |
#59 | / | Piccadilly Records |