Evocative and turbulent, the mostly buoyant compositions seek the freedom to extend beyond a moment or locale. A faintly sketched canvas, listeners can color their own emotions to Will.
Potential is as great an album as it is a story, and the songs allow you to sink into them while simultaneously offering a chance to think about one’s dreams and actually putting in the effort to chase them.
The music feels less homogeneous, perhaps slightly more erratic, than on Euclid, but still with the overall feeling of beauty and future-looking exploration.
The strength of Under the Sun rests with his continued spirit of collaboration and his eclectic style, recognizing the endless possibilities of infusing pop elements into electronic music’s abstract spirit.
Jaar has been a formidable producer since releasing his earliest singles, but Sirens, more than any other previous release, proves that he is every bit as capable as all the artists mentioned above in creating a true masterpiece.
It makes perfect sense that Love Streams is Hecker’s first record with label 4AD, as it sort of sounds like the Cocteau Twins if they decided to live inside a glacier, communing with Old Norse land spirits and subsisting exclusively on psychedelic mushrooms. Love Streams is at once familiar and totally alien; a work of art that reminds us why we need art in the first place.
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.