Really nice, stripped-down electronic music. The album feels really introspective, it's ethereal vocals with sparse instrumentation, a little bit of sax, a little bit of piano, just enough to keep you engaged, but not so much that anything takes the spotlight. It's one of those albums you listen to late at night while you stare at the night sky, or while you sit outside as the sun sets. You let the synth pads wash over you and take you to another place where everything is as light as air. The opening and closing tracks are the absolute best tracks on the album, absolutely gorgeous, and the rest is definitely interesting and shows a great attention to detail in composition. _________________ Progressive Rock
I think, much like power metal can, folk metal can almost become like a parody. It gets so wrapped up in itself, in incorporating strange and different instruments, in the idea of "folk metal", that the music almost becomes secondary. But Eluveitie don't do that, this album is some seriously top-notch folk metal. There's a lot going on, there's a ton of instruments used on this album, but what sets this album apart is the authenticity. A lot of folk metal bands will rely on keyboard sounds, imitation flutes, things like that, but Eluveitie is an eight-person band, and they play everything. You've got the hurdy-gurdy, different types of flutes, bagpipes, a mandola, you name it, it's here, and it all blends perfectly. The production is excellent, so no one instrument over takes the other, and the composition is awesome, everything is interesting and engaging. The instrumental tracks, like "Anagantios", are just pure emotion, and the other tracks are an excellent blend of folk elements into metal structures. If you're into folk metal, this is definitely an album you should listen to. _________________ Progressive Rock
As of right now, this is my AOTY. The range of style and intensity throughout this album is absolutely gorgeous, it starts off strong and it never stops. "Stand And Deliver" brings you into the album, riding on a wave of synth pads as Hayley Mary comes in with a spoken-word intro, and it works perfectly as an introduction to this album. Mary asks "What's a girl to do, standing in the spotlight?" and the answer is run forward as hard as you can and keep pushing. The album is awash in keyboardist Heather Shannon's keys, she really adds a whole other layer to the sound, as the keys blend with the guitars and the drums to make for a huge, powerful, monolithic sound. The fact that Shannon has recently been diagnosed with ovarian cancer really adds to the emotional power behind the album. Lyrically, it's odd but fascinating, Mary covers all sorts of topics, many of them dealing with issues of modern feminism. In "Smile" she says "You can call me sexy if you want to", "You can whistle at me on the street where I am walking" but her only condition is, "Don't tell me to smile if you don't know me, brother". Mary won't hold back, and she doesn't, and her voice is excellent, it can transition from a quiet, gentle voice, to a powerful siren without even a second thought. This album is huge and it's powerful. _________________ Progressive Rock
Wild Nothing has always impressed me more instrumentally than anything else. Jack Tatum has slightly changed his sound with each album, and I can appreciate that. Every Wild Nothing album feels carefully considered and delicately composed so that each and every thing is in its own specific place. Tatum's lyrics and vocals are a little lacking here as they are on other albums of his, but they don't take away from the overall experience much. Essentially, if you've heard a Wild Nothing album before, you've got a general idea of what this sounds like. It's not a carbon copy of his last two albums, but it definitely has his sound. _________________ Progressive Rock
I liked these guys better when they were The Morning Benders. This is relatively generic, albeit catchy and somewhat enjoyable, indie pop/synthpop. There are a couple songs that are pretty catchy and enjoyable, but the rest is pretty forgettable and POP ETC do virtually nothing to establish their own identity within the genre. Like I said, relatively enjoyable, but ultimately pretty forgettable. I will say though, their album Big Echo when they were The Morning Benders is pretty good. _________________ Progressive Rock
I liked these guys better when they were The Morning Benders.
Couldn't agree with you more. I got to see them get their start. My friends handled their PR, so I saw them a bunch. They were all really young. Hung out with them a couple times. Thought they could become something special. But I've really disliked the direction they've taken since the name change. _________________ http://jonnyleather.com
RockyRaccoonIs it solipsistic in here or is it just me?ModeratorProfile Maryland
I liked these guys better when they were The Morning Benders.
Couldn't agree with you more. I got to see them get their start. My friends handled their PR, so I saw them a bunch. They were all really young. Hung out with them a couple times. Thought they could become something special. But I've really disliked the direction they've taken since the name change.
I know. Big Echo was really good, but now they're just doing generic indie/synthpop. But it seems to be selling well, they're getting more notoriety. _________________ Progressive Rock
Aaron Funk has the ability to create a masterpiece. He did that, in my opinion, with Doll Doll Doll. He also can wander, and sometimes his music can get a little aimless, but luckily he doesn't do that on this album. Oddly, this is one of the more relaxing Venetian Snares albums, which is odd considering the guy does a lot of breakcore, glitchy stuff that's frenetic and all over the place. But with this, he doesn't, there are moments where this is actually kind of pretty. It doesn't kind of get settled into itself and the tracks start to blend here and there, but generally, this is a pretty enjoyable album, and a little different for Funk, which I give him credit for. _________________ Progressive Rock
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