Heavy, atmospheric sketches that remind me of MBV meets Steve Hiett with Jesu and Hüsker Dü guitar tones strummed to valsy cumbia Peruana rhythms. Would love to hear more of this sort of thing, but maybe more developed and not smashed so flat by lo-fi production. Enjoyed "Ch'uwanchaña ~El Golpe Final~."

Very pretty in a curated sort of way, but structurally redundant and emotionally flat. Songs go stale a third of the way through.

Disjointed wireframe of stimulating spaces, sound palettes, rhythms, and repetition. Reminded me of Bowie's warped, gated textural experimentation over pop structures in 'Scary Monsters (And Super Creeps).' Teases abrasion and the aesthetic of vitriol throughout, holding until the final lines of the last song to name the source. Highlight: "Life Hex" into "ist halt so."

Confidently vibey, punctuated, and consistent in a way that reminds me of moody late '90s post-rock/indie crossover like American Football, Botch, and Yo La Tengo. Love the midwest emo passages in the first couple of tracks as they morph into danceable post-punk revival rhythms swirling around Television-esque guitar work, supplemented by sour, grungy, and finally gothic notes in "Italics" and "Cable Ties." Riffs are robust throughout and vocals sit just right. Loved ... read more

Grief, anxiety, and rumination as cycling centrifugal disintegration beneath small talk and pasted smiles. Some of the most expressive sound design I've ever heard, especially in angular textures, hollow percussive motifs, and tight, reflective spaces. "Double Trio 2," "And I Dance" stretching, grasping at light.

An omnidirectional explosion of jazz fusion confetti, like Zappa's 'Hot Rats' meets Ornette Coleman's 'Science Fiction' meets Pharoah Sanders' 'Thembi' meets 'Cortijo y su máquina del tiempo.' Nothing captured me on a melodic or rhythmic level; feels like more of a texture/structure study. Front and back-loads with "Absurdo Mudo" and "Valsa Cromática," with the challenging "Mobile/Stabile" ... read more

Very silly but not without real sentiment. Sharp lyrics and timing had me smiling the whole way through. Enjoyed the mix of digital and acoustic. The little sketches, screams, and vocal goofiness (like the whisper singing in "Even Though You're Blonde") got me good. All of it works.

Lush, living textures and spaces: surging, dissipating; near, far; present, absent; ephemeral, infinite. Invites subjective abstraction as the mind fills in gaps. "Green" among "Symphony for a Spider Plant" and "Roygbiv" as one of the most beautiful electronic pieces I've ever heard.

Another impressive waveshaping sandbox from Cook. Love the way he mixes minimal arrangements maximal through spatial effects. Recalls Oneohtrix but with transgression exchanged for cohesion (both drawing from Bangalter). Enjoyed the thrumming, strummed, string-like textures and the hard lean into bleep techno. Difficult to evaluate without visual context, but "Momentum," "Don't Sleep," and "Offscreen" are standalone bangers.

Interesting atmospheres, textures, and beat cycles jammed back in the mix by rhythmless, low-impact phone mic vocals and lyrics like floating through someone's memory of what music might've been.

Groovy grind with punk bits mixed in. Would absolutely injure myself in a pit to this. Mixed like you're standing at the edge of the stage right in front of the drums. Love the 3/4 grind-waltz vibe to "Null and Void."

Gave me a sensation of something like cognitive claustrophobia, as if I were sleep-paralyzed within someone else's alpha wave cycle. Enjoyed the instrumentation more than the vocals, but the interplay between both was really interesting.

Favorite song: "All in bet"
Reminded me of: Jenny Hval, Inara George

'Merry-go-round in an abandoned shopping mall,' 'warming hands to a plastic fire,' 'thunderhead on the horizon' music. Love the dissonance of the gurd, the buzzy, tapey, tubey, wiry textures, massive spaces, and transitional flow between songs. Nice contrast of procedural rhythms and free-flowing drumless structures. Found myself laughing multiple times throughout, and cried once. Was sad when it ended.

Favorite song: "Pumpkin Festival"

A riffy post-punk revue with appropriately dry, punchy production for its hybridization of eras. Songwriting's on the backburner. Feels like a study/discovery album preceding something more novel.

Incredible voice smothered by hammy cottonball lo-fi production. More pastiche than conviction. Notes of Roy Orbison, Marty Robbins, Tommy James, and Brandon Flowers. Songwriting and arrangements collapse a few songs in, but vocals remain intriguing.

Interesting production, arrangement, lyrics, and tonal contrasts countered by vocals that sound something like Ben Gibbard or David Berman but with all the range and emotion stripped away.

Favorite track: "Old Dog"
Reminded me of: 'Purple Mountains' by Purple Mountains

A muted alarm. Williams' instinct for a needle-sharp hook is still there, but so is her implementation of dense, driving, maximal, genre-generic production that ultimately flattens her vocal character and smooths the rough edges of her lyrical motifs. "We Have Come Too Far To Turn Around" is almost powerful.

Process jazz. Fracture, synthesis, reconstitution. Consciousness through organism through mechanism. Connections formed, then ripped apart; confined, then emancipated; constrained, then boundless.

Interesting production on the low end; low pass filter as lead. Arrangements and tonal motifs remind me of early to mid '10s electronic stuff like The Knife, Mr Twin Sister, and Purity Ring, but with a much lower creative ceiling. Vocals offer very little.

A damn good heartbreak/loneliness record and moving homage to mid-'70s laurel canyon giants like Joni Mitchell (those close harmonies!) and Linda Ronstadt, with notes of contemporary influences like The Innocence Mission. Adore the stripped-back arrangements and voicings, with Andrews' at mix-front exactly where it should be.