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The WireFeb 4, 2019It’s not uncommon for DIY punk, hardcore and noise artists to veer towards the more contemplative, electronic ends of musical experimentation. ... Croatian Amor’s exercise in post-apocalyptic world building is another effective example of this transition. [Feb 2019, p.53]
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Feb 4, 2019Like sun shining through the clouds after a storm, Isa is equal moments tumult and bliss.
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Feb 4, 2019Amid slashes of industrial noise and chilling silences, the two artists take turns offering similar surreal speeches about gazing up at a black airplane, a pitch-black sky, vomit, and a bird of paradise--sinister appeals to the unknown, to the unavoidable end times. These interstitials give Isa a dimensionality that seems to break a fourth wall of the record.
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Feb 4, 2019Its narratives bump up against moments of real beauty, casting a robotic detachment over even its warmest moments. But Rahbek does an admirable job of presenting visions that are hard to shake.
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Feb 4, 2019hat’s most striking is that the album really does tell a story. Its glorious conclusion arrives a little too soon, but it’s good enough to have you hitting rewind. Listen in a dark room, on headphones, and you’re likely to experience a few hairs-on-end moments. It’s ugly, yes, and sometimes contrived. But it’s beautiful too.
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Feb 4, 2019It’s a tense work, a deeply troubling piece--it evokes, at least in terms of mood, noise-terrorists like Throbbing Gristle and Cabaret Voltaire. It’s also a thrilling record, one that stands up to multiple listens, and with each listen it becomes easier to digest.