It’s time to finally move on from the neon lime green of Brat Summer and dive headfirst into the steel chrome gauzy drones of Nati Infiniti, Alessandro Autumn is here.
I am visiting my mom in my hometown and I go down to the beach to take a walk, I haven’t been there in ages. I actually love to go the beach in the offseason, the water is cleaner, there’s nobody there, it’s peaceful.
Just as I am starting to head back into town I spot a message in a bottle just sitting there on the shoreline, half buried in the sand.
I think what the hell but of course I pick it up, there’s a little shred of yellowing paper inside with just four words on it:
at some point in the last few years a switch has flipped and music based on synths went from being used to describe the future to being synonymous with nostalgia and the past.
This record is a great way to get reminded of how the weird sounds of synths were used to evoke alien landscapes, weird machines and fast moving technology. Geesin is a master at work.
this album feels like a more cohesive and atmospheric trip rather than a collection of outtakes and unused bits from Mike Dean's superstar collaborations. Sonically rich with amazing classic analog synth tones, hypnotic vocoder lines and heavily effected saxophone riffs.
Solid album, a good summation of Justice's career. Sure soundwise this might not punch as hard as their first releases but I feel like the whole culture has moved on from that era and nothing sounds as abrasive anymore, which I ultimately subjectively prefer (but that's like my opinion man)
I generally think it's very hard to have a long career on the bleeding edge of cool when the thing that's 'in' changes every other year, Justice have survived with a bit of cunning conceding something to pop music, but they definitely have a knack for writing catchy and weird tunes, and their choice of collaborators with indie cred like Tame Impala, Thundercat and Connan Mockasin ensures they still get… More
one of my favorite ambient records of the last few years, very inspired work, organic textures from saxophone, harmonium and sitar mixed perfectly with deep synth tones and soundscapes. Haunting, melancholic compositions that would make a perfect soundtrack for a Tarkovsky film.
Davachi and Kalma are from different generations and backgrounds and found themselves perfectly half way to record this in a single day, the vibes are immaculate but I wish they had recorded and worked together more!
Nice collection of mostly instrumental music by Johnny Jewel, ranging in tone from soft and elegiac to dark and brooding. Not a huge fan of the sequencing of the tracks and it feels more like a collection of tracks than a proper flowing and cohesive album but there's a lot of good tracks here