A brilliant sonic experimentation that explores the notion of identity.

Lyrically and thematically Moses tries to come to grasp with how the self, and his self, is essentially constituted by the relations it is enveloped within, such as the social and economic contexts we necessarily move through, but also the interpersonal relations that we crave for comfort and self-recognition. These contrast between self as unity and multiplicity, and between social commentary and personal and existential ... read more

Filled with atmosphere and emotion, 'Empty' is a step back for Nils Frahm. In contrast to 'All melody's' dynamic electronic textures this is a sparse and almost static piano record, that provides open, spacious textures and feelings of loneliness. While mostly effective, the record still ends up feeling stale and unambitious.

More grandiose than ever and with great lead singles, the deep cuts are sadly forgettable with an over-saturated mix that drowns out the multi-layered instrumentation and Will's passionate voice.

A record that invites you into Fiona Apples personal headspace, exploring her views and feelings with a poetic directness, while utilizing drum fills, piano and contrabass to perfection in alternating between smooth and discordant harmonies. Fiona's masterful voice is center-stage modulating between serenity, rage and introspective reflection with brilliant technical prowess.

With fusions of rock, stadion pop, and RnB, SAWAYANA delivers a record that investigates themes of commercialism, egoism and cultural fetishism and legacy in a deeply personal way. One of the most unique and well-crafted pop records of the year that delivers on its huge expectations.

A brilliant sonic experimentation that explores the notion of identity.

Lyrically and thematically Moses tries to come to grasp with how the self, and his self, is essentially constituted by the relations it is enveloped within, such as the social and economic contexts we necessarily move through, but also the interpersonal relations that we crave for comfort and self-recognition. These contrast between self as unity and multiplicity, and between social commentary and personal and existential ... read more

An album that both transcends and stays thoroughly trapped within the folk-genre. It is brimming with untapped potential, but still succeeds in being an emotional and varied experience, that is well worth a listen.

Beautiful and haunting harmonies are balanced with fragility beneath a sheet, only to pierce through with monstrous noise, producing an awe-inspiring lo-fi, psychedelic experience.

The album is an optimistic and shimmering experience, with a consistent and seemless mood, in which each song feels complete and well crafted. Sadly this also becomes it's biggest weakness, each song flowing into another without noticeable variation, and the album generally lacks in experimentation and variation - the track 'marigold' showcasing exactly what potential could have been realized. In general the album is too safe for something that dares to be hopeful.

At times the production and sampling is interesting, but generally the album wanders too much disrupting any sense of cohesiveness the admittedly ambient atmosphere could have produced. The vocals are generally dull and too laid back, and those few times they shine, it is too little too late.

Fav. Track: Love, death, distraction, ????, 2020

Exploring themes of self, memories and change through a personal lense, the album occasionally balances Watt's voice and defiant attitude with rich-bodied instrumentation producing a reverberating atmosphere. But the albums slags in the middle where Watt's voice feel dislocated and wierdly produced, resulting in a forgettable experience.

Fav tracks: Balanced on a Wire, Summer Ghosts, Irene