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Fin Eaves' mix doesn't have anything in it you haven't heard before, but you've never heard the elements put together like this before, either. It's a powerful, massively textured thing whose heavily treated grooves (yes, grooves) are drenched in ambiguous, deeply poetic beauty.
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All of this to say that Cloudland Canyon does something interesting that is deceptively simple. This is a difficult album if you really listen--but you might also just throw it on in the background and let the dreaminess surround you and whisk you away to nowhere.
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What Uhlhorn has done on Fin Eaves is reconcile those influences into something unique to him; this is homage or pastiche, rather than imitation. Rather than playing different influences to different effect, Fin Eaves is a whole work, the first of the band's career.
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Sure, with Cloudland Canyon stringently adhering to their newfound formula and retaining a similar pace throughout, Fin Eaves doesn't lend itself to any startles or immediately striking moments. But their renewed approach allows for the full realization of the album's flavor: grandiose, ambitious, and almost painfully beautiful.
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Throughout Fin Eaves, the kaleidoscopic growth of the tracks feels both natural and chaotic, and you get a good sense of the sounds and patterns evolving. Sometimes the album's lo-fi and static-ridden production can induce a dulling sensation.
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Under The RadarUhlhorn has composed an ambitious single piece with Fin, Eaves, with songs effortlessly segueing into each other. [Summer 2010, p.78]