Word: reverberative
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...doesn’t matter whether you can understand the lyrics, whose protagonist “whisper[s] sweet nothings to all the girls of France” and “hopes that they respond.” Forbes’s voice, echoing cavernously under heavy reverb, oozes unrequited love and regret entirely...
...very first encounter with Built to Spill. Alas, instead of encouraging me to jump headfirst into the world of indie rock, most of the tracks on this album struck me as little more than background music. The instrumental arrangements and execution are seamless, but the reverb-heavy production establishes a clear divide between album and audience. Most of the album is fairly chill music perhaps best suited to spacing out; many of the songs drag on far too long without significant changes in the form or feel. There is a degree of self-indulgence on many of these songs that...
...music adds a more modern feel that to which the audience can relate to and in which it can get engaged. The messages of the play are direct, in such a way that they, as Gentry affirms, “take hold of the audience, captivate them, and then reverb with them in their hearts and minds.” In addition to its fresh approach, “rainbow/streets” promises to convey significant and powerful themes to its audience. Its juxtaposition of the two contrasting gendered environments works with blackC.A.S.T.’s mission...
...songs, but, without a shred of creativity or punch, simply repeats the chorus “you don’t need this disease” ad nauseum. Besides Joy Division, the other obvious comparison of Editors is to Interpol, both of whom sing dark and detached tales amidst reverb-loaded guitars and squeaky clean production. But whereas Interpol, especially on “Turn on the Bright Lights,” threaten to sprawl into bloated, albeit atmospheric, songs, Editors maintain the same calculated, tight sound throughout. Alas, like Interpol, Editors suffer from mediocre and repetitively bleak lyrics. Because...
...might, the group’s most recent release sounds like they’re just going through the motions. There’s very little on “Fab Four” that we haven’t seen before stylistically. Here we find the same loose reverb and spacey harmonies, the same collages of cheesy Farfisa-type organ sounds, the same sometimes-baffling vocal lines that sound more like language-learning dictation exercises than pop hooks. This is an eclectic recipe that has worked for Stereolab before, producing 15 years of consistent and occasionally great music...