The enigmatic Swedish artist’s debut album is dark, shadowy, and veiled, the perfect music for long, lonely winter nights.

The new disc is far less skronky and cacophonous, its melodies having been burnished to a chrome-like, Euro-chic sheen.

This is true pre-millenial tension, folks.

Nothing’s small in GYBE!‘s music.

Full of examples of why Kranky is one of the most essential — and consistent — labels currently out there in indie-dom.

The most emotional and affecting Pan-American album to date.

It’s like Labradford remixing Seefeel remixing… Labradford!

As slow and mellow an album as you’re likely to hear all year.

These songs rarely feel as compelling as it seems like they should be.

Holy crap… did I just use “fun, funky vibe” to describe a Kranky release?

They’ve really created a beautiful piece here that manages to be sparse and minimal while remaining emotional and moving.

It’s a beautiful work, glittering with ice and chilly atmospheres.

Each unnamed track is slow and purposeful, solid and often quite beautiful.

Low plays each song in a very deliberate manner, as if each song survives from one chord or brushstroke to the next.

Some tracks may leave the new listener bewildered, but I challenge anyone to not find the beauty ultimately contained in these recordings.

I could only fully appreciate Submers’ nautical-themed soundscapes once I listened to them over headphones.

An album that reminds me of why I loved, and continue to love, their music so much.

Mark Nelson is determined to minimize his albums’ accessibility as deliberately as he minimizes his sound.

AMP has indeed changed their sound, and not managed to totally disappoint in doing it.

Haunting female-fronted atmospheric music in the vein of Flying Saucer Attack and Low.