NTTR - No Time to Review

The best part is obviously Juan Gabriel himself. He has huge personality, and he knows how to make familiar songs feel alive by stretching phrases, changing the pacing and using the audience and orchestra as part of the performance. “Hasta Que Te Conocí (Popurrí)” is still my favourite. It is the one track where the length really helps. The medley keeps changing shape, moving through different styles and moods, so it feels like a real journey rather than just an extended version of one song. “Amor Eterno” is the emotional highlight. It is much simpler, but that actually works in its favour because the song does not need much decoration. “Querida” is another obvious peak because the melody is so strong. The problem is the album as a whole. At more than an hour and a half, there is too much material that I admire more than I actively want to replay. The orchestral arrangements are often beautiful, but they can also make everything feel equally important and equally grand. That reduces t...

This is a strong The Ocean album, but I don't think the full record is as consistent as its best moments. The main thing that works is the scale. The long tracks actually feel ambitious rather than just long for the sake of it, and there is a real sense of movement between heaviness, atmosphere and the more electronic passages. The new vocal setup also gives the album more contrast than I expected. “Simulacra, Part III” is my favourite track. That is where the whole album clicks best for me. The tension, the build, the atmosphere and the final payoff all feel properly earned. It has the density and darkness I want from The Ocean, but also enough detail and progression to avoid becoming another generic post-metal crescendo. “Ultima Esperanza” is another highlight, and “Light Pollution” works very well too. The electronics are especially useful because they give the record another dimension instead of just adding background texture. The Tangerine Dream influence near the end is one ...

This is a very good live document, but I think 66 is much more realistic for me than the 72 I initially predicted. The biggest strength is still the fact that this actually sounds live. Orbital are not just replaying the studio versions with crowd noise around them. The tracks breathe more, the transitions matter, and there is a rougher edge to the whole thing that suits this period of electronic music very well. The middle of the set is where it works best. “Impact” , “Remind” and “Are We Here?” all gain something from the live setting. There is more movement, more tension, and a stronger physical feel than on record. “Are We Here?” is still my favourite track because it has the best balance between atmosphere and progression. It is long, but at least it feels like it is going somewhere. “Chime” is obviously a strong closer too. It is simple, direct and still works perfectly in a live context. But I don't think the set is equally strong from beginning to end. That is the main ...

This is impressive, but I think I admire it more than I love it. Sheila Chandra’s voice is obviously extraordinary. There are moments here where it feels like one person is creating an entire ensemble by herself, just through rhythm, resonance and phrasing. The “Speaking in Tongues” pieces are probably the clearest example of that, and hearing them live makes the technique even more impressive. What I like most, though, is when the technique disappears a little and the emotion takes over. “Lament of McCrimmon / Song of the Banshee” is probably my favourite because it has more atmosphere and more of a real journey. “Ever So Lonely / Eyes / Ocean” is more immediate, while “Nana / The Dreaming / Fine Horseman” is probably the piece where the voice-and-drone format feels most complete. I also like the fact that these performances were chosen for feeling rather than perfection. That gives the album a real live character, and it stops the whole thing from becoming a sterile vocal showcase. ...

This is quite different from the darker, more progressive side I normally associate with Gabriel Keller. Méli-Mélo is much more direct, much more focused on French chanson, folk and acoustic arrangements, but there are still enough small progressive touches to stop it from becoming completely conventional. The arrangements are probably the strongest part for me. The cello gives the album a real identity, and the occasional violin, clarinet and harp add colour without making the songs feel overloaded. I also like the way the different vocalists change the tone from one track to another. It helps a lot on an album this long because otherwise the acoustic/chanson palette could become too uniform. “Les Demoiselles” is my favourite track. The clarinet gives it something a little different immediately, and I like the way the arrangement feels lighter and more playful than some of the more serious songs around it. It is probably the track where the album’s title makes the most sense to me: ...

This is probably one of the stranger M83 albums, and I like that more than I actually love the record. “Blister Sunrise” starts brilliantly. It has that huge shoegaze/electronic wall that M83 can do extremely well, and for a moment I thought the whole album was going to sit somewhere between early M83 and the more melodic side of the later records. But it very quickly becomes something much less predictable. There is a lot of instrumental material, more abstraction, some almost neoclassical passages, free-jazz touches and several tracks that feel more like ideas developing in real time than conventional songs. That makes the album interesting, but it also creates the main problem for me: I admire quite a lot of this without really wanting to replay all of it. “Feeding Time” is probably my favourite. It starts in a much softer, almost folk direction and then suddenly changes shape completely. That kind of unexpected turn is exactly what makes this album work when it does. “Blister Sunr...