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The noises on Rivers, while off-beat, are more or less pleasurable, not testing the listener--instead introducing them, guiding down the increasingly sealed-off world the record builds for itself.
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MojoRivers is a record that will haunt you long after you've heard it. [Sep 2010, p.99]
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A fine evolution.
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The WireTogether, these two collections add up to a desolate statement that is naked enough to make listening feel like a act of voyeurism. [Sep 2010, p.62]
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Recorded in a week in Reykjavik, this is music inevitably imbued with Iceland's stark grandeur and glacial eeriness; even if Wallentin's strident but wounded vocals retain a distinctive bluesy quality (albeit a blues closer to the funereal ceremonials of Diamanda Galas than Muddy Waters).
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UncutThe results shimmer like rivers at dusk. [Sep 2010, p.111]
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Rivers isn't as immediate as either Heartcore or The Snake, but fans should find it satisfying once they've had time to let it soak into their ears, brains and hearts. Rivers isn't as immediate as either Heartcore or The Snake, but fans should find it satisfying once they've had time to let it soak into their ears, brains and hearts.
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The EPs are kept distinct on two separate discs. Whilst they vary in texture and mood, they also work remarkably well together, as if representing two sides of the same coin.
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By the force of their musicianship on Rivers, however, Wildbirds & Peacedrums manage to own that risk as one of their greatest assets.
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Wallentin has reined in her seductive-foghorn voice, and Wildbirds & Peacedrums are a more subtly compelling band for it.
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Together, the EPs make Rivers a good addition to the W&P discography.