December 2000 Archives

Once again, we have another release proving that not all electronic music falls into that amorphous realm called “electronica.”

On the whole, I like Fall Sounds more, but Of Color Bright has quite a few bright spots of its own.

All 4 songs have that hazy, jangling guitar that you can find in every Velour song, accompanied by quiet organs and gently brushed drums.

At times, it wonders into brief avant-garde experimentation, but even that is well done, building up tense atmospheres.

Fall Sounds is the perfect name for this album, because the music somehow conjures up images of falling leaves, grey skies, and beautiful sunsets.

Incredibly listenable, downright catchy, and kitschy in all the right ways.

Penelope’s songs are short and to the point, with just the right amount of moodiness.

They do such traditionally no-smiles allowed, experimental things, but with a real sense of humor.

This is the new genre: micro-beat.

The best electronic pop money can buy?

If I look at the album’s high points, I could listen to a double album of that stuff.

Melodramatic dreaminess with more than just a hint of twee and shoegazer pop.

There is definitely warmth found throughout with the help of a soothing voice and lulling reverb.

Live: Roseland NYC reveals a band that not only puts out great albums, but puts on one heckuva live show.

My advice: don’t run away from this album, but listen to it before you buy it.

David Bazan’s songwriting has never been better than on this album but the emotional and spiritual depth feels strangely underwhelming.

Pedro the Lion’s songs practically drip with an intensity that would make most emo bands foam at the mouth.

One word could sum up Pedro the Lion’s music: humility.

Plone’s analog synth music is at its best when it’s most whimsical and playful.

Remarkably pleasant to the ears, even at its harshest, while still delivering a challenging and unpredictable listen.