SLARAFFENLAND - Private Cinema reviews
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| CokeMachineGlow |
 On Peter Gabriel’s Security (1982), the baby-faced anal retentive finally managed to manifest mood that could be interpreted as something other than quirkiness with a human core: pure fucking dread. The literal deconstruction of his image, represented by the covers spanning his first three LPs, culminated in Security’s unrecognizable visage: flat textures compressed to obscure the icon into an unnerving approximation of human features. The music was rhythmic and primal and constantly at odds with a sense of tenuous and weakening control. ...full text |
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| PitchFork |
| This Danish quintet's first full-length release on Home Tapes is a full of dark and radiant songs that compete and unite at equal turns. The album opens with the peaceful, anemic bombast of "Sleep Tight", its winds and strings chugging through crashes of cymbals and bass. An ominous chorus of voices enforces a marching cadence, but the precision breaks midway for guitars and distant howls reminiscent of Animal Collective's Campfire Songs....full text |
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| Silent Urpoar |
| Slaraffenland are a Danish quintet who've studied hard at the avant-garde school of Sonic Youth and mix elements of rock, free jazz, electronica, classical, and punk into some pretty eclectic chaos on their latest release, Private Cinema. Eruptions of noise follow melodic passages that eventually drift into beautiful jams that unquestionably recall the freeness of the Sonics, while added brass and woodwind instrumentation evokes the dramatic flair of Sufjan Stevens. There are even some ambient overtones reminiscent of Tortoise....full text |
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