[Translated from the original French via Google]
“Hearing Thing , published in 2015, had really interested us; it is therefore quite confident that we immersed ourselves in this new album by Erik Nilsson , to note that the Swede is again strong cross real instruments and electronics rather ambient. Thus tablecloths are frequently put in place, on which a acoustic guitar cascading ( A Tap at the Window ), a piano a little unstructured ( The Marienkirche Meditations ) or a small battery intervene.
The ensemble, played by the multi-instrumentalist musician, then unfolds along pieces stretching between five and eight minutes, sometimes stopped even though we would have liked more development ( The Benefits of Bepedalism , beautifully packed , supported by a rhythmic and a small electric guitar with melodies in loop, but which stops net). But, as a rule, Nilsson finds the right duration, often reviving the pace, through the introduction of a new programmed rhythm or a new instrument (the strikes on the toms of Off-Beat Etude No. 1 , for example).
After six tracks, the album makes way for the fourteen-minute closing song, crescendo post-rock particularly tasty, in its ability to gradually put in place, to demonstrate a beautiful ambition and mix cleverly various sources ( Once, I Held You In My Forever Arms ). Thus, after more than seven minutes in which a rhythmic “electronic wind” dialogue with the piano, bass and drums enter the track while the “melodic” part is managed by an electronic loop. In the last two minutes, finally, the guitar chords is saturated and the battery is doubling, while all the components resurface, in a final both held and unbridled.”