I find it rather troubling and disappointing that Piano Magic’s songs have become this predictable.
Understated, subtle, patiently constructed electronic pop at its finest.
Ultimately, only hardcore fans of the band need to pick this up.
The EP comes across as more an experiment, a toss-off than anything else.
The fact that their music still has plenty of its own charm says something to me.
About as perfect a summation of Slowdive’s career as one can find.
A fun, offbeat little film that showed me there’s more to Hong Kong cinema than heroic bloodshed and kung-fu.
Pen-Ek Ratanaruang’s sophomore film possesses style, attention to detail and character, and depth.
Because of the album’s truncated recording, it’s pretty raw and unfinished in places, more a work in progress suspended in time than anything else.
At times, the album gets a little too relaxed, and Munk and Skott seem to rely a bit too much on the inherent loveliness of their sound palette to keep things interesting.
It’s not so much what Jurado sings but how he sounds doing it. (But what he sings is pretty darn good.)
The music seems designed to keep listeners as uncomfortable as possible, but Gang Gang Dance occasionally finds a solid groove in the chaos.
Max Richter’s compositions possess an arresting and singular beauty.
Buy this album, if only to see what’s currently happening in cutting-edge Christian music.
The songs are sparse yet warm, like Plaster is inviting me to hear revelations of his deepest anxieties and feelings.
Whereas Soul Whirling Somewhere’s debut was an intensely intimate recording, Everyone Will Evenutally Leave You has a more sombre and distant tone.