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Goodbye
Goodbye in Bloomington, MN
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On
Ulrich Schnauss
' third album
Goodbye
, he gently fades away from
Boards of Canada
style breakbeats and deep into a
shoegaze
slumber that drifts gently into an ethereal realm slightly reminiscent of
Enigma
,
Ultravox
, and at its most lush moments,
Enya
. Yes,
, but maybe only if she were to be produced by
Kevin Shields
. Breathy keyboard pads are at the forefront and this results in a more sleepy retro vibe derivative of '80s
new age
, which might be the trouble with this record. On previous albums,
Schnauss
seemed to be evolving into his own futuristic style of beat-making, but here the excessive layering seems to be a step backward, with less focus on the rhythmic
IDM
and
electronica
aspects, and more on the expansive soundscapes. The entire disc is washed out with a
Tangerine Dream
meditative lull that would fit perfectly as the soundtrack of a melodrama; perhaps if
David Lynch
made a lighter, happier version of
Twin Peaks
about characters addicted to Vicodin. Regardless of the genre shift into this sedated state and a lack of beats in the foreground, these songs are undoubtedly moving, and some of these tracks are among
' most structured and wonderfully cosmic. The epic
"Medusa"
"Stars"
have swelling vocal lines that swirl slowly with a fuzzy sheen as the soothing wall of sound builds to a climactic wash, and the overall result is a much fuller, dreamier sound, with a massive dosage of ambience. Turntablists will likely be disappointed with this style, but think of it as a change of scenery, of
' departure from
electro
to
ambient
. It's a tranquil journey that feels somewhat like an attempt to re-create the magic of
Loveless
using software and keyboards instead of guitars, and although it doesn't feel quite as fresh as
A Strangely Isolated Place
is striking and rewarding in its own way; it just might take a little more time to sink into the murky
new agey
abyss. ~ Jason Lymangrover
Ulrich Schnauss
' third album
Goodbye
, he gently fades away from
Boards of Canada
style breakbeats and deep into a
shoegaze
slumber that drifts gently into an ethereal realm slightly reminiscent of
Enigma
,
Ultravox
, and at its most lush moments,
Enya
. Yes,
, but maybe only if she were to be produced by
Kevin Shields
. Breathy keyboard pads are at the forefront and this results in a more sleepy retro vibe derivative of '80s
new age
, which might be the trouble with this record. On previous albums,
Schnauss
seemed to be evolving into his own futuristic style of beat-making, but here the excessive layering seems to be a step backward, with less focus on the rhythmic
IDM
and
electronica
aspects, and more on the expansive soundscapes. The entire disc is washed out with a
Tangerine Dream
meditative lull that would fit perfectly as the soundtrack of a melodrama; perhaps if
David Lynch
made a lighter, happier version of
Twin Peaks
about characters addicted to Vicodin. Regardless of the genre shift into this sedated state and a lack of beats in the foreground, these songs are undoubtedly moving, and some of these tracks are among
' most structured and wonderfully cosmic. The epic
"Medusa"
"Stars"
have swelling vocal lines that swirl slowly with a fuzzy sheen as the soothing wall of sound builds to a climactic wash, and the overall result is a much fuller, dreamier sound, with a massive dosage of ambience. Turntablists will likely be disappointed with this style, but think of it as a change of scenery, of
' departure from
electro
to
ambient
. It's a tranquil journey that feels somewhat like an attempt to re-create the magic of
Loveless
using software and keyboards instead of guitars, and although it doesn't feel quite as fresh as
A Strangely Isolated Place
is striking and rewarding in its own way; it just might take a little more time to sink into the murky
new agey
abyss. ~ Jason Lymangrover
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