The production's the star: notes stretch to disintegrating horizons, glitches shuffle into shape, bass glowers godlike, expectation-defying structures all powerfully evoke tangible space.
But then Tom Krell's voice is in that space there with you, keening and wailing and ooing and eeing on and on and on. It works for a while, an instrument stretched beyond reason, outlining pure white emotion, but you can only listen to breathy falsetto for so long before it gets exhausting, and I hit that point around track 7 on my first listen and about track 3 on my second.
It's a challenging, rewarding listen, but you can't help but feel like its more challenging than it needs to be. Sigur Ros, Bon Iver, can't anyone make otherworldly music without going all
oooooooooooeeeeeeeeeeeeeeeeeeeiiiiiieeeeeeee
over it anymore? 3/5
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