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Entertainment Weekly11 irresistible sound collages that feature driving beats, amiable guitar acoustics, and a quadraphonic sense of aural play that encourages rampant headphone abuse. [15 Feb 2002, p.68]
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Point is in another zone altogether, establishing Cornelius as one of the most creative pop musicians around.
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The sonic consistency may bore fans thirsting for more of Cornelius’ spastic and unpredictable eclecticism, but the ensuing stereophonic experience is second to none.
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Given his prior eclecticism, it's stunning to hear the unified, boldly conceptual approach Cornelius takes on his new Point.
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More rounded and less determinedly schizo than Fantasma, Point is a great album of delicious odd-pop made by a whimsically modest genius.
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A far more streamlined affair, songs stretch out into dreamy extended jams that make bossa nova rhythms, sizzling electronics and screeching metal guitars seem like perfectly acceptable bedfellows.
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While Point may be less viscerally invasive than any of its recorded counterparts, it remains a beautifully orchestrated exercise in modern pop construction.
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It's the mischievous desire to deconstruct his own perfectly rounded pop snapshots that marks him down as a post-everything wunderkind
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BlenderPoint is the sound of a post-everything pop auteur rediscovering his attention span. [Feb/Mar 2002, p.111]
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Point is even weirder than previous Cornelius records, even if its emphasis on acoustic guitars makes it seem uncharacteristically mellow at first listen.
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Point might actually be a perfect album, but that doesn't mean that I'm going to end up loving it. Nothing sticks out; nothing disturbs the ear or the mind or the heart; nothing is objectionable. The flow might actually be TOO impressive, and the circular structure admits of no human fallibility.
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The WireIn isolation, no individual song is particularly memorable but together they add up to a musical vision you just can't ignore. [#215, p.52]
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From rock riffs to cheesy electronics, nothing is off limits here, the gurgling stream of playful beats and gorgeous melodies carried along on a tide of Can's dreamy krautrock, ambient instrumental bliss and infectious '70s rock grooves.
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Alternative PressRather than suffering from the absence of Technicolor mania, Point instead revels in its nuances and depth, emanating a maturity and cohesion that Fantasma lacked. [Feb 2002, p.68]
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An album as much about focus and precision as its predecessor was about appropriating and reconfiguring sounds and styles into a psychedelic free for all.
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While Point is ultimately plenty of fun, it's also serious work that can be taken seriously.
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The cleverness, technical mastery and ping-pong stereo effects are all there in spades, but this time they're all much more mellow than you'd think. Listen right and you'll hardly notice them, because you'll be wrapped up by the thing I initially completely missed-- some of these tracks are just plain lovely as songs.
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Point is playful and fun, and although it sometimes sounds like different tracks are constructed exactly the same as others, just with different instruments, it also makes for a much more cohesive release than his debut.
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MojoPoint is less a stylistic mash-up and more a stylish exploration of mood and groove. [Feb 2002, p.98]
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SpinPoint is at once less sprawling and less insular than Cornelius' earlier work. [Feb 2002, p.110]
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Admittedly, this time round he's prone to touch on more comfortable territory than before... but often there's a delicious sense of him going back to basics without sacrificing the benefits of modern technology.
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UncutPoint is a quietly beautiful, low-slung beach house record, a chill-out soundtrack to the distant sunrise over Tokyo bay. [Feb 2002, p. 120]
Awards & Rankings
User score distribution:
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Positive: 8 out of 11
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Mixed: 0 out of 11
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Negative: 3 out of 11
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MichaelMApr 6, 2007
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jonboyFeb 9, 2004brilliant arrangements, sounds, and harmonies.