It's not always great and frequently a little difficult to follow, but it's a consistently and extremely interesting project with a handful of different sounds at it's disposal.

Beautiful synth-y New-Age stuff, it's nothing boundary pushing but it's a very nice execution of the sound. Eight simple enough compositions with some very warm feeling harmonies and melodies.

Really awesome textural work, this is some of the most effective work I've heard at creating really interesting soundscapes that blend loud and soft dynamics as well as light and dense layering. It's only flaw is that at it's core it's very formulaic and the songs usually just evolve pretty linearly upwards into a gradual come down kind of outro. It's not perfect, but still an amazing album and an enjoyable listening experience.

It's cool but nothing crazy, it's mostly saved by the title track which is a really fun and jaunty track. Everything I said about the last two records is applicable here but just a little worse.

A nice listen for anyone who likes ambient, but I'd hardly say it blew me away. I get the impression from what I've heard by him that Basinski's music is very minimalistic and atmospheric even in terms of ambient/drone music, which is cool, but not necessarily my thing.

A lot more of a generic release than Nina's debut album, but still a nice time nonetheless. Some moments can be kind of dry and most of this album falls into a very overdone Big Band sound, but tracks like Children Go Where I Send You, That's Him Over There, and Solitaire keep this fresh. (As well as Nina's solid vocal, although it's slightly less amazing here and It would be redundant for me to mention it every review.)

Interesting for sure, and the interplay on some of the more technical parts is fascinating, but I wouldn't say it's enough to completely capture my attention. There's not really any moments that I can specifically recall beyond superficial analysis, and I think that's my fundamental problem with this album. The vocals also bring it down because they're pretty hit or miss in terms of my feelings on them.

Very beautiful, it does quite a nice job of being equal parts dark and brooding but also uplifting and light; I think that balance in tone gives this album a nice sense of variety that distinguishes it from other albums in it's same style. That combined with Nina's vocals just makes this an enjoyable little album.

I'm not entirely sure why this is so great as it is, but I definitely agree with the majority that this is an amazing record. It simultaneously is cool and gritty; combined with Nina Simone's masterclass vocals it just makes for a really enjoyable sound. Again, it doesn't seem like it would be THIS good, but this is a super nice LP.

Nice, but nothing crazy. It's sweet but oftentimes a little cheesy Baroque Pop with two obvious standouts: Everybody's Talkin' and One. Those songs are great, and the whole album is at worst decent, but it's not a crazy memorable experience.

A lot better than I was expecting! I'm not familar with Swans' / Micheal Gira's Neo-Folk stuff (nor really the Neo-Folk genre at all), so I was very excited to hear what an album in that style would contain. To my surprise: It was really good! This whole album still exudes the dark & pessimistic songwriting that defines Gira's writing, but there's also more (at least musically) optimistic moments like Evangeline & Two Women which ended up being by far my two ... read more

Enjoyable, but super repetitive and very unmemorable. This entire album sounds pretty much the same, and even though I do enjoy that sound and the highly textural elements of it, it just gets super hard to focus on. Not necessarily boring, but just really difficult to stay invested with.

Beautiful, but definitely limited in it's ideas. It's interesting to hear vocals from Efrim and the whole dreary Chamber aesthetic is very cool and I enjoy it's minute similarities and differences from GY!BE. However, it's pretty sonically similar from track to track with a heavy focus on piano for most of the runtime; which is actually pretty cool, but it makes these songs run together.

A fairly fun listen! It mainly lives within three styles; the upbeat blues rock of songs like Brown Sugar & You Can't Hear Me Knocking, the Folk Rock of Wild Horses & Sister Morphine (my personal favorite style), and the more lazy Country Rock kind consisting of stuff like You Gotta Move. The first two I enjoy and make this a great record but the last type just brings this whole album down for me, it just gives this album a sluggish feel when they delve into that style. With that ... read more

Very cool, I always have a lot of fun with these early Ambient / Progressive Electronic albums. The opener was amazing and the rest of the album was still good, but noticeably not as good as Sunrain. This album's 2nd and 3rd songs are decent enough at not dragging but the last song definitely starts to feel dragged out by the end. Regardless, still a cool listen even if there's better out there.

Great songs, but obviously a demo. Honestly I would like this more if the real TOD didn't exist and this was polished up a little more. This is definitely not up to the same level as other middle era CSH work (NYM, HTLT, etc), but it's a pretty nice set of slacker demos.

It's not like, godforsaken levels of bad, but it's pretty lame. It is funny with some of the more egregious lyric changes, but looking at it more generally it just feels pretty stupid.

Fundamentally, even if Will is against swearing, these are OLD recordings of him from TEN (or more) YEARS AGO swearing; if he chose to just keep them as is then it's not even a problem. I think the vocal changes generally make it way worse than necessary, multiple songs just get butchered because ... read more

It definitely isn't great, but it manages to stick the landing with the last coupe songs. The more glam and psychedelic pop stuff just kind of leaves a bad taste in my mouth; the music itself is fine and I enjoy both those genres, Eno's vocal style and executions of those previously mentioned sounds is a little subpar compared to his contemporaries. I like the more open moments on the last two songs but besides that it's just ok.

Very interesting mix of Progressive Electronic and Jazz, it's a style that works very well but I'm sort of unfamiliar with it. The first track especially blew me away, and while the rest of the album IS good, it absolutely lives in the opener's shadow.

Not that great, in my opinion. It's a weird mix between New Age, Progressive Electronic, and Art Pop; it generally comes off feeling kind of subpar on all of those fronts. The melodies are this albums strongest point, but a lot of the supporting electronics feel really clunky and the project generally falls somewhere between cheesy and messy in terms of it's layering and production.