Crack Cloud manage to transform their ideas, both musical and lyrical into some quite credible post-punk/post-new wave musical experiences.

Yes, this music came along well before Black Nite Crash, but it doesn’t really matter as the quintet comes up with a combination that does it true justice here.

In a way, Lindhagen’s ‘Memory Constructions’ have exactly that echoing, lingering effect that makes them more reality than constructions.

Even those already aware of what The Comet Is Coming are capable of the tightness, intuitiveness and further pushing of boundaries the trio exhibit here can be a (pleasant) surprise.

Going through a specific counterbalancing (musical) process, it is Vasquez and his listeners that come out on top.

On ‘Novella,’ Grossman covers his intimate stories with a cool, late-night vibe that fits them equally well.

What Martel comes up with on ‘Saturn 63’ is quite an extraordinary array of sounds, but sounds placed within a song and composition structure that make sense and fully enrich them.

Instead of making a mess of a heady combination Barnett and Larroche came up with, their mix shows both letting loose and restraint at all the right moments, confidence that graces only those artists who know exactly what they’re doing.

The sounds Tuhaf creates on ‘Mere Guld’ works as it is quite a successful combination of the inspiration from two seemingly disparate musical genres.

Maybe Davies is not reinventing the wheel here, but his musical wheels seem to be working quite fine, thank you.

Essentially, Bailey Miller has come up with one of the best debut albums this year so far.

Things work out here almost in the best possible way – instead of musical chaos, you get musical excellence.

There seems to be an excellent synergy between the musicians and the ideas they brought along to this music on this album, creating a deep meditative listening experience above all.

Listening to these songs as a collection, you realise what lies behind the high quality of music The Limiñanas are creating – the music, recalling all the great moments of the sixties psych pop from all over.

Whether Gold used the Bronze technology to come up with this album is beside the point, since ‘Blue Garden’ deserves a medal. The one that is more akin to his last name than the name of the software he developed and uses.

It is a warm-heartening recapitulation of the duo’s uncanny knack for a good melody accompanied by various types of racket that can go under the banner everything AND the kitchen sink (which they probably used on their recordings at some point), but that somehow underpins that knack for melody rather than dismembering it.

The band seem to go through a very meticulous process of writing and recording the songs here and actually come up with music that was seriously constructed. With excellent reason and results.

a lot’s gotta change is sophisticated pop at a very high level, whether you add that dream category to it or not.

Santos was able to express the seriousness of the situation he found himself in through both the music and the lyrics here through some seemingly easy to the ear sounds that actually go much deeper than their ‘surface,’ quite a feat in itself.

The duo was able to fit their improvisations within the musical structures they developed previously, giving the four extended musical pieces here both a head and a tail, or to be more precise, turning improvisations into tight and exciting structured musical pieces.

On ‘Thyrsis of Etna,’ MISZCZYK is able to find a common thread and present it here as a unified musical concept and turn it into quite a treat.