It’s a little punk (but not too much), with some safe mall emo, a cheeky ’80s glam-rock solo or two that Weezer rejected, and plenty of studio sheen.
Music like this should be short and sweet, otherwise it wears out its welcome.
With this package Rhino has raised the bar on quality for CD reissues.
For the most part, the album maintains a consistent mood best suited for contemplative moments.
Glissceule is as blissed-out as shoegazer can possibly get, consisting of nothing but nigh-endless layers of Cortez’ heavily processed guitars and Arpin’s angelic cooing.
A sweet pop record to sing along to.
The genius here is that, rather than making these songs into goth ballads or melodramatic affairs, they keep them short, sweet, and best of all, catchy.
Perhaps better than any other Hush release, it illustrates the label’s “anti-rock” stance.
The Estonian group shamelessly blends the best of My Bloody Valentine, Lush, and Stereolab.
Despite being an original motion picture soundtrack, this is in no way background music.
The series’ melodrama is almost offset by the movie’s visual style. Almost.
If you want to start getting into Evangelion, this is not, I repeat, not the place to start.
Shyamalan takes a clichéd premise and turns it into one of the creepiest ruminations on faith and God you’re likely to find.
In some ways, this album is an amalgamation of everything that Martin has done before.