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Sep 30, 2016Far 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.
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MagnetSep 20, 2016Trentemoller'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]
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Sep 14, 2016As a whole, Fixion is a logical progression for Trentemøller, whose music seems to cinematically expand and contract while remaining true to his chosen bailiwick.
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Oct 6, 2016Fixion serves as more of an evolutionary link--a sound experiment--than fully formed statement of intent.
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Sep 16, 2016Fixion 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.
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Sep 14, 2016Overall, 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]
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Q MagazineSep 14, 2016His fourth album doesn't really sound like a club set at all. [Oct 2016, p.113]
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Sep 14, 2016Much of Fixion, while enjoyable, finds Trentemøller stuck on the same weary note, reaching for what's comfortable and familiar rather than pushing his craft forward.
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Sep 22, 2016His 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.