Manafonistas

„It’s just such a beautiful piece of art, this album, really gorgeous. It’s a world that Echo & The Bunnymen  create; you’re stepping into a place that feels very real with them. And again, back to my hidden goth. I don’t have an inner child, I have an inner goth. I had maybe one or two friends that shared my love for them at the time, so this album is very personal. It’s not a social album for me. It was very much something I kept for and to myself. The older I get, I realise how impactful it was for me. There’s not a missable moment: every song is perfect on its own, and then all woven together, it’s a beautiful thing. It’s perfect. Beauty is really the word; it’s just got this dark blue beauty, album cover aside – how it feels as well. I was listening to it the other day and was thinking, it’s like 40 minutes long, and it feels like hours to me, in the best possible way. There’s so much – I feel like it’s not just linear.“

(Tanya Donelly)

 

Your ear will adjust. Even if Lanois and Funk are seemingly working towards opposite ends, the sonic marriage of the two becomes easier to process with each listening. If you are new to breakbeat, Venetian Snares x Daniel Lanois is more likely to plant a glitch seed in your brain rather than convert you overnight. The one track that finds Venetian Snares at his most intense is tucked away in the second half. On „Mothors Pressroll P131“, it sounds as if he is cramming the available space with every sound and every beat available on his synthesizer.

(John Garratt, popmatters)