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- Summary: The fifth full-length solo release for Moderat's Sascha Ring is his first as Apparat since 2013's Krieg und Frieden (Music for Theatre).
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- Record Label: Mute
- Genre(s): Electronic, Techno, Pop/Rock, Indie Electronic, Experimental Techno, IDM
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Score distribution:
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Positive: 8 out of 10
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Mixed: 2 out of 10
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Negative: 0 out of 10
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Sep 16, 2019LP5 is a solid effort by a vital musician, worthy of multiple listens – ideally, with no distractions, and complemented by a glass of wine or tea and some low lighting.
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Mar 22, 2019LP5 is an album which simply affords itself space to breathe. Whether it be in Ring’s confidence in allowing a guest artist to fill the immediate musical landscape or the deference paid to the traditions of both electronic and acoustic music alike it all works together to create one of Sascha Ring’s most comprehensive releases to date.
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Mar 26, 2019It’s not a game-changer of an album, but the game is certainly changing and Apparat is playing for the right team.
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Mar 22, 2019As expected from Apparat, LP5 is an ambitious, inventive album which runs on its own intuition, fusing studio wizardry with honest expression to frequently thrilling results.
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Apr 25, 2019LP5 gracefully treads a path between the glitching and popping of Ring's earlier work and the grand epics of his later work, as well as it navigates deftly between obscurantism and populism. This is a niche, if not a groove (notwithstanding the run out of "Gravitas").
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Mar 29, 2019Though a jubilant work, in general, LP5 feels like a more mournful, deep creation than Ring's past efforts, finding some optimism in a world fractured by uncertainty and violence. Apparat hasn't returned with anything new, just an album that delves further into the abyss and makes you want to sink with it.
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Mar 25, 2019The problem is the tone, which, from the album's first whimper to the comically bad poetry reading that closes it, is hackneyed and overwrought all the way through. These ten tracks are defined by somber pianos, bittersweet strings and quivering pads--like Sigur Rós, but drained of all mystery. Worst of all, though, is the singing, a half-coherent moan that falls somewhere between Thom Yorke and '90s radio balladeers like David Gray or Five For Fighting.
Score distribution:
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