She wears her obvious theoretical grounding lightly and never lets it obstruct her ecstatic quest for new ideas and deranged stimuli. And Varmints is a knockout, the kind that makes you see cartoon stars.
It is darker than Mutant; it’s heavier and more unrelenting.
The Ship is a great, unexpected record. The title track and “Fickle Sun (i)” on their own and as a connected piece of music are marvelous accomplishments, distinctive in Eno’s catalog. And “I’m Set Free” immediately ranks among the most perfect-sounding pop songs Eno has ever had a hand in making.
Demon City ... is a wonder of concision and represents another massive leap forward in her growth.
Part of the album's magic is the way that Huerco S., after the fashion of William Basinski’s The Disintegration Loops, has captured a feeling of fragility, of things flaking to dust before our very eyes and ears.
Caressing obsolete technology, they've parodied labor's drudgeries as play. Ultimate Care II is a daydream of domesticity, a chore ignored. Call it the revolutions of everyday life.
The hybrid pop collaboration between Josiah Wise and Haxan Cloak is a sly and personal exploration of the queer experience, boiling with personal energy and fantastically operatic in scale.
Like Virgins, Love Streams tackles a lot of abstract concepts, like "live" sound, and synthetic sound, and rooms and space, and technology's ability to complicate all those things. But it's also about the ability to disappear into sound, to get lost in the contours of a slippery timbre, or to be made whole by a consonant harmony.