Instrumental alternative rock has to capture my ear with a distinctive sound above all else to maintain my interest, and on this album, the first in five years for Steve Marion, has personality. The guitar timbres Steve conjures are wholly his own (just look at some photos of him overlooking his pedal set, it's crazy detailed) and the charm of this record mostly lies in it's aesthetic. When it comes to style and composition, however, this is a tad undecided. This is Steve borrows elements from ... read more

It all reminds me of the kind of car commercial music (Phoenix, for example) that one would hear in the mid-2000s. And that's not a bad thing if it's done with flair and compositional muscle. I can say that latter doesn't lend itself to this record as much as the former, but it's still all very chill, atmospheric IDM.

The sharp, cutting synths and bare bones composition make for quite the skeletal electronic/disco record. Trouble is, personality is absent from these already very basic (gratingly so) tunes, and if there's little memorable musically and little memorable stylistically, your album has very little going for it. Those that favor their dance music very campy and flamboyant without a hint of depth or forward-thinking, search this out.

I will undoubtably listen to this to the point it will adversely affect my mental health and musical tastes, but like a drug addict I truly don't care. Neil has once again blown our collective minds with an even tighter, more confident series of mashups. Only this time, the memes take a backseat to display an even greater mastery of arranging disparate musical motifs and finding compositional commonalities. I danced, I laughed, and, not even kidding, I almost cried. This is amazing stuff.

Bombast and cheeky nostalgia mining at it's most unapologetic is given a complete pass through the sheer amount of detail and ambition backing this record. It's not stylistically refreshing, but it infuses those 70s and 80s pop sensibilities with sheer conviction, delivering on every instrumental motif of this era with huge, intricate compositions that move so fluidly and organically, not once hitting a dull beat or bland musical theme.

The art punk modus operandi behind this group as a whole definitely is unique and has my interest, in theory at least. An incredibly genuine, quirky frontman in Jad Fair delivers earnest, kooky positive affirmations over jarring instrumentation. Trouble is, the music itself is rarely interesting enough, nor are the lyrics focused topically enough to fulfill on the promise this group clearly display. The mixing is pretty lackluster, too, not even referring to the hit-and-miss composition of ... read more

I prefer the title track on here, though the Bowie tribute opener is by no means lackluster. The deep, grainy, hauntingly vague loops truly sink into the brain and create for a listening experience that finds the music creating itself and much as you are, finding little imperfections and flourishes moment by moment, while the whole piece never feels unfamiliar.

It relies far more on the warm, inviting textures than it does crafting compositionally memorable songs, but it's still a consistently pleasant listen. I wish there are more tracks on here that, in borrowing elements from Mali or Garage, have a distinct identity. It's apparent Bonobo can make this brand of music competently, if not expertly, but I can't say I know a Bonobo track for what it is when I hear one.

I wish this deviated a little more into the soundscapes it offers up from time to time, a truly left-field move that I think works well in execution but proves to be a seldom respite from what is otherwise a very good metalcore record. The Mud and Hurt Goes On embody this synthesis very well, it's just a pity we get a stronger emphasis on pummeling drums and searing riffs that, while not stale and or lacking in bite whatsoever, are far less distinguished than the high points. Still, a good ... read more

The emphasis on sequenced drum machines aside, the aesthetic here is pretty pleasing to the ear (though it could be mixed far better). The synths are warm and celestial, the guitars psychedelic and soothing. Trouble is, the composition is almost completely lacking. There is nary a song on here, save for possibly the track detailing a hunt for mythical creatures, that I found to be melodically memorable. The lyrics are hippie psychobabble and the runtime of nearly an hour is entirely indulgent. ... read more

While the final track on here is pretty weak, the rest of this is surprisingly fitting for a posthumous release. You have variety, even within it's brief runtime, with the aggression and apocalyptic imagery of Killing a Little Time and the contrastingly mellow, comforting release of No Plan. As it is, it does feel unfinished and I worry this is the preamble of a follow up record, but what we have here is a pretty decent final farewell.

This is truly music that comes from a desire to connect. Across this project Adam leaves behind all pretense and lays bare a series of complex neuroses that immediately grip you from the opener. There's a nakedness here that's disarming and potent, and the noisy instrumentals, though a little overly simplified and mostly lacking in melody, compliment the tortured mindset of the lyrics viscerally. If you so choose to seek it out, it won't be an easy listen, but it will move you, I promise.

A beautiful listen full of emotionally stirring plunderphonic dance music. Bertke weaves vocal samples in a way that works musically and never fails to convey a myriad of emotions. The tracks can take on a typical EDM format and don't break new ground, but otherwise it's a gorgeous listen.

The more vibrant tunes on here, like Dangerous, Lips, Hold On, or A Violent Noise are really great. They captivate melodically and feature some very beautiful soundplay from Jamie. The weaker cuts, however, which I find to be more abundant, often highlight through very minimal instrumentation and spare composition the Achilles heel of this group (at least in my controversial eyes), the vocals. So often I find Romy and Oliver to be capable, but devoid of a distinct personality. When backed by ... read more

Cock rock that borrows the worst elements from Nickelback, Daughtry, Matchbox Twenty, Creed, and the like, there are only a few moments of brief instrumental interest to keep this from boring the listener into hysterics.

A pretty solid 22-minute look into Maxine's talents. The best tracks on here are those produced by Liam Howe, bar none. They have the slightly dissonant, almost eerie quality of FKA twigs (though are sadly more on the palatable side of things) and, while the project as a whole has the derivative feel of every other alternative R&B artist these days, there are enough standout moments and sense of personality to warrant a listen.

For being Italians from Milan, these guys manage to capture the lo-fi, beach rock sound pretty well. Songs like Portami Via have a catchy, snappy quality that's immediately satisfying and Wonder Woman is a beautiful, almost melancholic romantic ballad of sorts. However, the blend of other genres like shoegaze, garage, and even psychedelia needed to be more prevalent so as to forge some kind of identity in a genre already homologous enough.

Rowdy, but not quite rousing, the best moments on here are when they portray a colorful array of drunken ne'er do wells getting into brawls and defending their honor over petty squabbles. At it's worst, it's beer commercial music with an unearned triumphant feel. And it's that for a good deal of it's runtime, unfortunately, though First Class Loser is a real standout.

An arduously flat, uninspired dose of every given artist you'd hear on a twee, alternative radio station . . . four years ago.

The lyrics are pretentious, impersonal, and contribute nary a single unique idea relating to the myriad of tried and dead themes of this breed of teen-angst music - be it religion, romance, substance abuse, etc.

If I received this record for Christmas, it would not be treated differently from a fruitcake.

I don't intend on paying the steep-ish fee to buy a generative music app I'll forget about after a week. The album, however, is pretty decent. Nothing I'd revisit outside of putting it on to study, but it's quite pretty and warm from front to back.