In a different vein, this album is very good overall, with an atmospheric and almost melancholic feel. Some tracks don't quite stand out as much as the rest of their other albums, and it's best enjoyed as a whole.

One excellent track isn't enough to make an excellent EP. Aside from Dayvan Cowboy, Trans Canada Highway is a rather mid project that feels like listening to tracks that didn't quite reach the quality level necessary for being in The Campfire Headphase.

I found it rather boring, unfortunately. It's a shame because the tracks might have worked better in another context (and we see that with Smokes Quantity), but I think the project lacks an overall direction and can be a bit too repetitive.

I confess I'm a little disappointed with this EP considering the positive reviews and overall positive atmosphere surrounding it. BoC seems to be taking a more ambient musical direction with this project, and I admit I don't find exactly what I love in their music; it's not bad, but it doesn't resonate with me.

Quite enjoyable, though it didn't exactly blow me away. The tracks are fairly standard ambient techno with some interesting ideas here and there. In my opinion, the best tracks are Turquoise Hexagon Sun and Everything You Do Is a Balloon.

(I listened to the version played by Vanessa Wagner, not Maki Namekawa's, but since it wasn't available on the website, I used this one instead.)
Glass's études have this ability, through the simple use of a solo piano, to offer music that, when played by expert hands, is simultaneously emotional, technically impressive, and intellectually stimulating. I highly recommend them to anyone interested in Glass music.

While slightly less consistent than some of the soundtracks (like those of Princess Mononoke or My Neighbor Totoro), it's still very good. However, I think the album's rating is a bit too high, probably due to its emotional connection to the film, which many consider the best Ghibli film (which I don't quite understand, but then again, Porco Rosso, for example, is very underrated).

The best compositions Hisaishi has ever produced for Hayao Miyazaki's best film. Beyond the magnificent themes explored in the film, the accompanying music perfectly balances power, emotion, and epic grandeur. Simply breathtaking from beginning to end.

The nostalgia that the soundtrack of My Neighbor Totoro evokes for me is hard to describe. The joy that Hisaishi offers us through this soundtrack is absolutely extraordinary for a film that perfectly captures this cheerful mood without being superficial or meaningless. This music, although designed to be relatively childlike, is interesting, not lacking in complexity, while still retaining its magic and dreaminess.

With this masterpiece, Karlheinz offers what I consider the greatest project of his career, blending vocal textures in an extraordinary way, building a very important bridge between classical and electronic music in the footsteps of Pierre Scheaffer and Pierre Henry, and creating one of the most important genres of modern classical music: electroacoustic music.

It's better to be a pig than a fascist.

The soundtrack is quite different from what Hisaishi usually offers, for a film that is also quite different from Miyazaki's other films. It's rather poetic, nostalgic, and retains the film's atmosphere through its sound.

This is the kind of review where I'm not quite sure how to begin. Stimmung, by its very nature as an avant-garde and highly experimental project, might seem inaccessible, boring, or uninteresting. Yet, without being able to fully express everything I felt during my intellectual exploration of the album, I'm convinced that Stockhausen offers us a rather sophisticated album that lays very interesting foundations in the harmonic explorations of modern classical music. I think this ... read more

I had high hopes for this project, to be honest. But in the end, I'm quite disappointed, because the B-sides weren't really that interesting. Some tracks really stand out within the project (Spiral Staircase, Nightmail, Korg Funk 5), but even though all the tracks are technically good, it drags on.
The cover art is extraordinarily funny, though.

A very enjoyable EP indeed, and probably his best project under the alias Aphex Twin since his "comeback" in 2014. The opening tracks are really, really good (especially the title tracks), but the project loses a bit of quality in the bonus tracks I listened to, nine tracks in total. Anyway, very good.

Yes has always been known for being an impressive live band, and it's no coincidence that this live album is their benchmark. The performance is breathtaking, showcasing all the grandeur of symphonic prog rock, even if, in my opinion, it's not the greatest live prog album overall. A well-deserved classic.

Brilliant, truly. I love this controlled chaos; it's always so impressive. Plus, I noticed that at 3:37 there's a sample of "Symphonie pour Homme Seul - Prosopopée 1" by Pierre Henry and Pierre Scheaffer at 0:07. Needless to say, I was very pleased to have spotted that. Anyway, hats off to you, Richard, for this project.

Richard doing acid house wasn't exactly what I was expecting, especially when I saw the cover, but oh well, it was enjoyable.

I really enjoyed it; the music is beautiful and relaxing, just like the album cover. I appreciate how Richard is so capable of alternating between chaos and calm in his different tracks.

It made me cry. It's so calm, so beautiful, but so full of meaning. RIP Aphex's dad

I need more of this kind of chaos from Richard. It's brilliant, experimental, fascinating. It's mind-blowing.