Fixion Image

Generally favorable reviews - based on 9 Critics What's this?

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  • Summary: The fourth full-length release for the Danish electronic artist features vocals from Marie Fisker, Lisbet Fritze, and the Savages' Jehnny Beth.
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Redefine Roses and Vine curling up around my leg roots and juice I will not hear What they said before was just a lie and I was a mess Falling... See the rest of the song lyrics
Score distribution:
  1. Positive: 3 out of 9
  2. Negative: 0 out of 9
  1. Sep 30, 2016
    Far from being austere, though, the cavernous riffs of ‘November’ or undulating synth pulses of ‘Phoenicia’ are like a warm blanket of comforting sound, while more direct and urgent Joy Division-esque kickers like ‘Complicated’ lurk elsewhere.
  2. Magnet
    Sep 20, 2016
    Trentemoller's flawless ear for melancholy, melodicism and atmospheric drama gives Fixion the feel of a soundtrack to a gothic/cyberpunk indie film and provides further evidence of its creator's electropop mastery. [No. 135, p.61]
  3. Sep 14, 2016
    As a whole, Fixion is a logical progression for Trentemøller, whose music seems to cinematically expand and contract while remaining true to his chosen bailiwick.
  4. Q Magazine
    Sep 14, 2016
    His fourth album doesn't really sound like a club set at all. [Oct 2016, p.113]
  5. Sep 16, 2016
    Fixion is not a traditionally cohesive record. It does not flow as whole, in fact it is all over the place, joined only by a sense of sonic darkness. But for a chameleon like Trentemøller, creativity is his cohesion, formula the enemy--and this is his most creative, experimental record yet.
  6. Sep 14, 2016
    Overall, the ambition and freedom of earlier work found on The Last Resort and Into The Great Wide Yonder is reigned in, and the melodic palette is less variegated and more darkly shaded, leaving you a little uptight. [Aug-Sep 2016, p.76]
  7. Sep 22, 2016
    His female vocalists, including Jehnny Beth of Savages, are spirited, but they are scuppered by melodies that never grab your collar. The only respite from Ian Curtis et al is when the Cure are pastiched instead, as on River in Me, which splices Lullaby’s unmistakable plucked strings with Killing an Arab’s punk tempo.

See all 9 Critic Reviews

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