Though ‘Side C’ is beautifully destroyed in its sludgy acid bass, the record impresses mostly in its sense of sunny optimism. ‘Side D’ is dominated by sprinkles of jazzy piano rolls and vintage synth strings, while ‘Side A’ chugs on with a restless momentum generated by boomy tom lines. On ‘Side B’, the producer seems at this most brilliantly ecstatic, with classic house piano and string licks that are hard to resist.
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