GEOGRAPHIC NORTH

“… marries a lush, woozy, electronic cunning with pure-pop sensibility, bridging the enveloping work of texture purist Christian Fennesz and the enigmatic, though self-moderating, songwriting acumen of Depeche Mode”
—Magnet Magazine

"beautiful mixture of dark 80’s, synth pop, early techno, some 4AD influences"
—Small Town Romance

"...the artists they evoke are sufficiently diverse musically and vocally that Warm Ghost can touch on several similarly moody genres without sounding like an out-and-out tribute act to any one group (witness how the pro forma shoegaze feel of "Resignation Rights" gets undercut halfway through by Knife-ish synths)."
—Pitchfork

"10/10. ...tom-heavy poundings to chanted vocals, swirling guitars come in between, but that’s the meat to the sandwich really. It’s easy to get your head caught up in it, but ends so quickly (especially for those nurtured on some long krautrock jams) that it’s a bummer. You could really stand to hear that stretched out to a full LP side."
–Foxy Digitalis

"'Stuff We Like.' Bharoocha started out making tribal/electronic/ambient anthems, and while the current iteration of Soft Circle remains true to that vision, their new sound has gone further into the direction of heavy beats and more solidified song structures."
–Insound

"...paints a gentle, steady portrait, utilizing hushed vocals, marching snares and cloudy guitars, coming close to some of Yo La Tengo’s quieter moments." "...forgoes rhythm and vocals for a sweetly burning drone featuring heavy delay and some sounds in reverse. ...it’s exactly the type of piece that’s transformative once you immerse yourself in it, and it’s a prime of example of why I adore Landing."
—Foxy Digitalis

"The slow tension buildup, sounding kind of classically influenced...it's really reminding me of Locrian or Godspeed you... like on the B-Side with 'Following Daylight'...those slow, shifting layers of sound fading in and out. Just a huge black wall, you can't see the ends or top, it's just closing in."
—7 Inches

"Tense, expectant, on the verge of understanding, you submerge yourself in streams of long notes swathed in static, slow moving processions of sounds, each element disappearing just before you get a clear glimpse of it. The melancholic aura, the overtones, the fuzzy-edged mystery is reminiscent of William Basinski's Disintegration Loops, and like them, October Language is meant to evoke decay, but it could just as easily represent birth, with nearly endless possibilities unfolding from each shape-shifting note."
—Dusted

"A-. ...the debut release from the New Orleans duo Belong, is one of the most unabashedly emotional and cinematic ambient albums to come along for quite some time. It’s a record with an immersive nature, capable of filling the furthest corners of the room with sound—sometimes, it can be overwhelming. At turns recalling the sputtering post-apocalyptic soundscapes found during the more ambient moments of M83’s Before the Dawn Heals Us or a 21st century remake of My Bloody Valentine’s Loveless as produced by Christian Fennesz, the album is a furious maelstrom blistering with emotional tension."
—Stylus

“a scrappier, more depressive New Order only just updated for modern ears” “Wellington is a shining example of great downer pop”
- LA Weekly

“Sassy, high-grade synth-pop composed via the throbbing connects of the internet. New Zealander Nik Brinkman and American Alejandro Cohen draw a pair of prime time New Order-esque rabbits out of the hat, while doffing said headwear to the temple of Stephin Merritt's Future Bible Heroes. Wellington is the stronger of the two cuts, with bouncy key stabs, a catchy chorus and a string-driven refrain that'd make Hooky piss his leather kecks. Foreign Photograph is a little pedestrian in comparison, but still a fuck lot better than anything The Lightning Seeds have recorded since Pure.”
– Record Collector Magazine

...jagged blasts of electronic noise and feedback jostle with sparse, tense guitar figures that never coalesce or resolve, before breaking down into waves of delay. The atmosphere is threatening from start to finish, suggesting a sound environment that could explode into virtually anything, the music stalking the surface of the mint green marble vinyl on which this was pressed searching for any escape."
– Foxy Digitalis

"...sounds like it could have come from the same performance, very drum heavy, a loping groove that sounds almost looped, as the drums are subtly effected and all around them swirl bits of feedback and blurred noise, very krautrocky, with that noisy backdrop surprisingly caustic at points, but just as often smoothed out into buzzing snarling dronescapes, still littered with jagged shards of feedback, and still hovering over that relentless rhythm."
- Aquarius Records