Simultaneously the most sparse and dense RHP record yet. The record starts with a very empty kind of songwriting that Mark has become known for and then culminates in the borderline cacophony of Blindfold. It's a nice record but completely overshadowed by the monolithic releases that came before it.

Surprisingly amazing. My feelings on SKM are mixed and I almost always favor the more complex and layered tracks. I find a lot of the more empty compositions to be boring or not worth it just because they don't really go anywhere. I think this record concretely dismisses that notion, at least in part. The writing on this album is really unconventional and for most of it's runtime it's just Mark and a double tracked guitar, but it's absolutely a simultaneously beautiful and ... read more

Mostly made up of a traditional 90s ambient mixed with Shoegaze sound, but the inclusion of drums and vocals bring it a lot closer to the Trip Hop world and ultimately make it a lot more enjoyable because of it. It makes the album more interesting and focused while still being really hazy and keeping the best parts of ambient music.

Surprisingly just not really my thing. The vocals feel really boring and the lyricism isn't really that much of a redeeming quality in this instance. The music is oftentimes cool but, again, not enough to make up for the record's short comings.

Really weird, but that's both cool and to be expected. As with everything Microphones I prefer the more song based and traditional tracks, but the experimental stuff is also very interesting.

(i listened to this on 6/7 and forget to review it.... oops)

It's okay, just overrated. I think the dense moments are pretty cool and hit hard, but a lot of the cleaner or just pared down sections border on feeling empty. The vocals are also cool but nothing special in my opinion; I generally just feel like this is nice but nothing that special.

I'm not crazy into Shoegaze, but this was fun enough. Production is pretty interesting and the runtime makes it brief enough to not overstay its welcome; something that would probably happen given the stylistic consistency across this EP. There's some cool riffing on some of the more fleshed out songs and as a whole it's solid material for this short of a release.

A more boring version of How I Loved You. There's some very cool movements, mainly textural stuff, but I find myself not as impressed by this album. It drags out without the reward of having these drawn out crescendos that (in my opinion) defined How I Loved You. There's still some really great arrangements on here, it's just weaker than it's followup.

A pretty great Ambient record! I enjoy that it's able to balance both a more traditional ambient, drone adjacent sound with these very cool Downtempo and Ambient Techno sections that border on IDM. As far as ambient goes, it's a solid execution and it keeps a fair amount of stylistic variety in a genre that usually lacks on that front.

Yeah, it's okay. These guys (and I'm sure this album) inspired a lot of stuff I really like, but I'm not crazy about this or anything. There's cool ideas but everything across the board feels kinda half baked or unfinished.

I'm not too familiar with a lot of Swans Pre-Reunion material anyway, but the middle especially is a blindspot for me. I know they went from No Wave to this Gothic Neofolk style, but I had no idea what that looked like.

White Light from the Mouth of Infinity, (to my understanding) probably Swan's most directly Neofolk output, is my entry point to this era of the band. Unsurprisingly, it's great. The acoustic sections especially carry this album, songs like Blind (which ... read more

A really solid middle ground between a lot of ideas and styles. Namely Post-Metal and Folk, but as the genre tags suggest, there's a lot going on here. I think the contrast actually works as a strength here; the powerful moments wouldn't hit nearly as hard without the quieter moments, and vice versa. I don't always love the vocals and I think this album can sometimes drag, but it is still consistently great in terms of it's compositional and structural elements.

Very interesting, but not always that enjoyable. There are fleeting moments of really great ambient and experimental passages, but I just kind of found myself in different for a lot of the runtime. The more formless it gets the more disengaged I am, but when it does manage to strike a balance between structured and unstructured it's great.

A really short and sweet album. I wouldn't describe a lot of albums as "cute" but this one I definitely would; it's so simple and yet really beautiful and fun. The electronics serve as really nice ear candy across the record and just makes for a super enjoyable listen. Definitely an apt album cover for how this record sounds.

Pretty nice and unambitious ambient. It stays in it's lane and does well in the style it attempts; nothing more, nothing less. It's not the best Ambient ever created and these tracks are very similar to one another, but it's an enjoyable and rewarding listen even in spite of that.

It's not terrible, but there are definitely short comings that come to mind. The biggest sore spot for me is the production; it's very clearly all MIDI or virtual instruments. To be clear, that's not like a fundamental evil that ruins this album immediately, but it can definitely make things feel lifeless. The drums and guitars especially just feel super dead and there's a general feeling of stiffness across the board. That paired with the composition and arrangements that ... read more

It's definitely not supposed to be a super serious project, so I won't be too harsh on it, but you can pretty much guess everything I'm gonna say. More or less: this is all interesting stuff, but not all of it works or is executed the best it could be. I prefer the more focused tracks; were you there today comes to mind.

Surprisingly not that great. It's just stylistically really redundant and everything here suffers from being just kind of boring. I like some of the more intricate guitar work, but most of this album is just the same basic sound. Nothing terrible, it's just derivative in a style that (for me) can already feel really redundant.

It's another very good record from RHP, but it doubles down on the aspects I wasn't a fan of from their debut. The best moments on here are on par or even surpass Down Colorful Hill, but so much of this album is bloat. The original project already had a problem with unjustified runtimes with the forty (ish) minute runtime being just six songs, but this album is even more ridiculous. It's less so that this album is long (although it is) or that a lot of the songs are long ... read more

Pretty out there conceptually from what I understand, but this albums instrumentals is the main selling point for me as someone who can't speak Indonesian (obviously). It definitely falls into the sounds that you can expect given the genre tags, but there's definitely an element of warmth that the music here has that isn't necessarily common within the genres this albums falls into. Despite my enjoyment of the sound this thing goes for, it gets super boring even after such a ... read more