The force of Moore’s band and the sonic bath the crowd received was proof that they aren’t just in it for themselves. It’s actually a kindness that the quartet put us through something so challenging. Like getting to the opposite end of Swans’s Soundtracks for the Blind or Can’s Tago Mago, you get a reinvigorated sense of music as both a great communicator of feeling and a bizarre yet succinct path towards enlightenment.
Love is Magic is perhaps John Grant's most consistent and enjoyable work yet. It showcases his trademark unpredictability - Soft love songs still turn sexual. Robotic voices are paired with Grant’s prettiest singing. The list goes on.
It’s not that Foxing's idiosyncrasies are absent on Nearer My God, it’s that there are much more of them. Under the co-production of Death Cab for Cutie’s Chris Walla, Conor Murphy’s toolkit has doubled on this record.
Kids See Ghosts, although the exact length of the other Wyoming releases, is by far the longest and stuffiest. All that’s really important is that this record takes risks without spazzing the news; and that we get to coolly rearrange the way we usually listen to a G.O.O.D. Music release.
On too many passages, Lattimore sticks closely to a pleasant and happy formula. In and of itself, this isn’t a bad thing. You get to spend quality time with each arpeggio, so much so that each little modification becomes precious. However, there’s merely six pieces here, and over half the record is spent exploring similar ideas.
It’s almost foolish to try and list all the genres at play across Sobereyed’s 60 minutes. It has to be experienced, not just described. The band employ guest vocals, cornet solos, and a stellar production team, smartly surrounding themselves with players that also couldn’t care less about which genre is at play.