Hell

The deadly leap from the intro with the pastoral flute to the massive riff still makes me flip in slow motion. An evergreen. Or everdead, who knows, anyway ever-something.

Anyway, I don't want to blaspheme, but here, in the seemingly quieter moments, it seemed to me that I could hear the Portishead of Third. The same chilling emptiness, the same spell, the same sensation of being hunted.

I'm loving it a lot.

I rediscovered them last year, in the sense that I had tried before some time ago but evidently I hadn't caught the right moment and the spark was missing. Instead, now I'm almost obsessed with them. I'm not crazy about Ionia (nice but still immature) nor especially about Estrella (quite ugly, really), but this is a masterpiece, The Burning Circle and Then Dust is wonderful and Cold is no joke either. I haven't delved into their works after 2000; I'm afraid I might be a bit disappointed, but sooner or later...

A very welcome return, I fell in love with Slomo from the very first listen. One couldn’t expect anything innovative from them, or rather not right now, with the "resurrection" album after 22 years. They have summed up what they are (or were), and indeed it’s a mix between their more classic sound and the ambient rarefactions of Pygmalion (my favorite), obviously without the youthful momentum of back then. I can understand those who found it somewhat unexciting, but it still manages to move me. In any case, this is a thousand times better than the disastrous blunder of the MBV from a few years ago.

I believe I love him immensely, however never as much as
Laughing Stock. Hollis, where the hell have you gone?

DeMa, let's go for a mountain hike. Packed lunch, fresh and pure air, and when we reach the top, we'll blast Streetcleaner at full volume.

The singles (especially Reverie and Anoche) showed great promise, and in the end, they were the best tracks on the album. After two albums that were so alien and metamorphic, the attempt to return to his roots is commendable (before wandering around under the name Arca, his very first songs were synth-pop) and finally reveal his humanity and queerness (as if his Facebook page wasn’t explicit enough!!), lending his voice on the advice of the Icelandic dwarf: the compositions become somewhat more thought-out, but perhaps it's a style Ghersi has yet to master. Sometimes he succeeds quite well, like in the glitchy pop of Desafio; for the rest, the album sounds unfinished to me, halfway between the calls to his usual free-form/noise style and these new carnal litanies. It must be said that his voice always walks a razor's edge, and in the second half, it gets a bit tiring. You could have explored it a little more, but well done for pointing it out.

what a page smasher.

I wouldn’t want to ruin the poetry, but just hearing about it makes me wet like a fifteen-year-old in the front row at an One Direction concert.