It introduces the album with ceremonial sounds, moves through adriatic’s synthesizers, and eventually flows into full-on indie/folk. I really liked tracks like mosquito and nevermind, and the rock spirit of weak hands, but overall, I’d say this is Westerman’s least exciting project. What a pity!

the symbolism and the latin, the orchestral elements and the vocalizations, the purity and the sinner: it’s a pursuit of excess meant to illuminate a violent kind of pain, yet within it lies a bare, disarmed vulnerability.
i would call it a gift to music itself for bringing ritual culture and baroque sonorities into the pop realm, in harmony with her most modern pen and the experiments rooted in hip-hop and electronic textures.

i must admit i found the final act weaker than the first ... read more

Genuinely lovely.

Favs: and i love him, i never heard the rain, this song.

somehow, i found my way from stereolab to broadcast almost naturally, given how often the two projects are compared. but that’s the beauty of music: it allows for difference, for diverging paths that, while both rooted in a minimalist sonic aesthetic, reveal themselves in the subtleties of detail.

with broadcast, especially on tender buttons and its more experimental tone, one fully experiences a sense of incompleteness of the self. in tracks like ‘corporeal’, trish ... read more

I like THE 1975 too

I think he wanted to have sex with someone, and he wrote an album about it.
Listening to “faith” today is fascinating, especially considering that GM hadn’t yet come out at the time. What once felt like the swagger of a pop playboy now reveals a deeper, more complex emotional layer.

The sound is that unmistakable ’80s synth-pop, enriched with r&b and funk influences, especially in the “i want your sex” trilogy, where the grooves and vocals take on a ... read more

I mean, if I could I’d give it an even higher score. Classic, gothic, urban, my mother Björk… it’s got everything I didn’t even know I needed until just now.

I’d say it’s almost futurist in spirit, evoking italian futurism with its celebration of motion, engines, and rhythmic drive. It unfolds with a sophisticated, dynamic sound, moving from soulful vocal lines to a funk-dance groove that gradually takes on a more experimental edge. It feels like a prelude to daft punk, and that’s why I love it.

The idea here is a dialogue between the artist and her AI alter ego. I find it a fascinating experiment from an artistic point of view, a kind of creativity expressed through both the human and the mechanical sides of the same coin. I’m not sure how to judge it from an ethical perspective, but overall it doesn’t seem to add a particularly meaningful contribution to the performance itself.

It’s a journey inward, a quiet reflection on the past, on what could have been, carried by a soft melancholy that holds no anger, only a growing sense of spiritual strength. The religious element doesn’t feel intrusive, but rather seamlessly part of this search for understanding and the gentle self-exploration that leads toward the future.

non ne sbaglia una

The sound aesthetic here has a unique elegance compared to the band’s other projects. It’s not their strongest work, since it’s missing some of those signature touches from their early days, but I really appreciate their willingness to evolve and embrace a more intimate tone. And besides, without it we wouldn’t have Call It Fate, Call It Karma, One Way Trigger, Chances, Welcome to Japan, 80’s Comedown Machine. Absolutely wild!!!!

I wanted to delve deeper into the elegance of Laura Lee’s sound, and in doing so i came across this wonderful clash between bass and guitar that unfolds into melodies that are melancholic, yet equally warm.

Mother, see u tonight!!!!

I love these guys, they’re a total mess, but in the best way. They’ve mashed up those killer ‘80s–‘90s alt rock sounds with their own signature vibe, full of that playful arguing-through-the-mic energy that makes them so fun to listen to.

It’s the first time i’ve listened to an album that includes a 30-minute track, but honestly, the length didn’t really matter, because the whole experience is so emotionally powerful.
It feels like a comforting kind of solitude, wrapped in gentle jazz sounds that make for a truly pleasant listen. The saxophone beautifully frames everything, while “Romance ESL”, appearing at just the right moment with its distorted textures, brings a perfect touch of energy and ... read more

It’s kinda cool, it’s just that tech-house is boring in general. And, i don’t wanna chill with Tame Impala, i wanna feel weird.

Anyway, i’ve listened to it a few times and it’s a bit of a slow burn, but i don’t think it reaches the level of the previous albums.

I feel that many artists get lost when trying to capture what healthy love really feels like, the kind that doesn’t ache. Yet Olivia, through her voice, somehow turns that quiet joy of loving into something magnetic, much like Norah Jones or Corinne Bailey Rae. So, so lovely.

MA CHE COMEBACK INCREDIBILE
io sono basita, this girl descrive le parti più dolorose della vita con una lucidità e semplicità assurda. i fratelli mango stanno facendo bella musica.

What a journey! Romantic tones intertwine with themes of social awareness, while the elegance of soul gracefully embraces sounds ranging from electronic to funk rock. There’s a palpable, passionate urgency of expression that finds its perfect harmony in the encounter with the musical personalities of ?uestlove and Pino Palladino. RIP