- Record Label: Erased Tapes
- Release Date: Jan 13, 2017
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Feb 6, 2017A heavy bass throb infects ‘Retour au Champs de Mars’, beating out a slow, muted rhythm like a submarine engine, while the pair channel labelmate Nils Frahm with the emotive strings, piano and frazzled electronica of ‘Comme on a Dit’.
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The WireJan 27, 2017The duo have created a world of two halves; a land of tension and mystery that collides with a place of release and transcendent sorrow. [Feb 2017, p.55]
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Jan 17, 2017Iris is that very rare thing: a soundtrack that can make a superb stand-alone listen.
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UncutJan 12, 2017While the duo's tempo remains measured and its atmosphere is typically grand, thanks to a 40-piece orchestra, Iris puts more emphasis on modular synths. [Feb 2017, p.38]
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MojoJan 12, 2017Retour Au Champs De Mars oscillates malevolently with throaty, Death Star bass synths; like much of Iris, it uses a covert approach to win you over. [Feb 2017, p.95]
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Jan 20, 2017The duo’s effective use of reverbs and filters works wonders here, transporting the listener through an array of the same kinds of sounds, but they're treated whole-heartedly and differently with each moment.
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Feb 1, 2017Ultimately, though, it becomes hard to identify individual tracks without keeping a close eye on the tracklisting as you go.
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Jan 12, 2017The resulting album feels like an exercise in understatement, and contextually it’s difficult to know whether it’s a case of self-restraint or a situation in which the shackles are being enforced.
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Jan 12, 2017This agreeable sameness infects much of the score, turning the voices of two inimitable musicians into hack work for hire, churning out glossy tones for images of cheap thrill and intrigue.
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Jan 25, 2017Recorded in Budapest with a 40-piece string orchestra in tow, the Iris soundtrack feels far too paint-by-numbers, gathering yearning strings to ebb and flow atop xeroxed prairies of arpeggiating synths. It’s muzak for gritty thrillers, maintaining a thin soup of emotion with enough colour to paint the background without muddying the foreground.
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