“It’s a huge step forward, synthetic elements only serve as the auxiliary material to realize the ideas of the musician and to support the acoustic line. Despite the discrepant feelings, open conventionality of the sound, the album doesn’t lose its originality. The unique content was influenced by original interlacement of influences, the basic element of which is the space program of the USSR, the most well-known female serial murderer Aileen Wuornos and parting with the close friend. Complicated, wide range of styles and various methods. They are all connected by a tiny undistinguished line – general mood of eternal melancholy, characteristic rhythmics of clockwork and characteristic features of a sonnet – creative crisis? Such an amalgamation of different incomparable stylistic influences was first thought off by Medard, but had never been represented in such a way before.
Sincere vocalisms and instrumental melodies chain up together into one intricate and elegant counterpoint. The album starts with the overture of touching electroacoustic fog with its own emotions (“Transients”). “Reflexives I” is a rather impressive play – mutiny of classic sound textures of piano and violoncello.
“Song for Oleg” and “I Wish I Could Tell You” is some kind of ‘experimental electo-pop’, perhaps the most powerful part of this album, this emotional splash makes you feel, recollect something, regret… Great combination of all the elements of the complicated engineer construction with a wide spectrum of human feelings. Warm southern elements from the composition “Departure Music Part One” are like the ikebana on an oak-tree, perfect instrumental content – harp, acoustic bass and castanets, amazing and beautiful. The Goodbye Radio is the old ‘house’ of memories without doors and windows.”