Essentially, the album turns into an elongated trance-inducing psych fest, that just requires those psych-inducing visuals to make the experience complete.

Nelson and his crew seem to know exactly what they are doing here, creating something like an open-ended mutant ‘kosmiche’ disco. The one that works.

Throughout the album, Niño combines his musical ideas and those of his other participants into a seamless whole, as if the music here was created through one, collective mind.

It is quite an intoxicating combination that works both with a single listener in his enclosed environment or on a club dance floor with the not-so-standard beats leading the way.

Gold came up with a set of songs that are fully formed, based on truly strong songwriting and musical presentation, coming up with one of the better modern psych-pop albums of the year.

Throughout the 11 songs here, Shulman does not only express what he knows and what he thinks but also what he feels, something that is not only a winning combination but one that produces high-quality music.

Not many artists can put such two opposites together in such a seamless manner, but Sonny Smith does exactly that here, gathering some serious self-awareness with their musical macrame.

As simple as this answer might be it is a very satisfying one, basically, ‘good old’ guitar-dominated rock that works.

It is mostly Burgos and his Rhodes electric piano and electronics throughout the album, but he is able to achieve a staggering variety of sounds throughout that exhibits some serious musical sense and imagination.

Delivered in his hushed vocals, akin to a sixties maverick Skip Spence. his lyrics stand on their own and make this album something prospective listener will cherish.

Throughout the eight compositions here, Wieland creates an intricate musical web that unveils its details with every new play creating exactly that melancholic, longing she was after.

It is that feel that is at one moment calm and serene, and at the other deeply dark as if it is sensing an upcoming sea storm whose arrival is so close.

Besides his stellar guitar playing, Wilson proves his equal adeptness at the piano, but what truly shines here is his compositional capabilities and inventiveness that make ‘Collodion’ such a great listening experience.

Having such a widespread set of musical elements involved always presents a dangerous territory if the artist doesn’t know how to handle them properly, but Williams manages to do so admirably.

It is quite a tricky proposition, requiring an exquisite touch, knowledge of the instrument, and a deft touch, something McMenamy obviously possesses in ample quantities.

Instead of turning this into a musical mishmash, Mallory does give a personal and unifying musical sense to all his influences, giving promise of greater musical things to come.

Gaadge has a tight, rocking sound that works, and as in many other instances that is quite enough, thank you.

It is definitely music on the edge, which Reich casually crosses as she pleases, coming back with ease, and creating some immaculate sounds along the way.

Listening to the seven tracks here, you realise why Wallis decided to take this route, touching exactly the pulse and the sound of the ambient country to a tee, with excellent results.

The seemingly light music and more serious themes form a counterpoint that makes them work together in excellent unison here.

And it all works so well together, all there sounding different and then as something created by one mind and concept, as it was.