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Oct 26, 2016Strands isn't so much about anything alien as it is about the sublime frontierism we project out into it, built as it is upon an awareness of our many Earthly sins. It's what we'll play when we try to escape out into the void, only to fall inexorably back to our sordid reality to dream once more.
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Oct 28, 2016Some portions of Strands are so calming that it's hard to stay focused on Hauschildt's expertly woven details. But the album doesn't just seek to relax its listeners.
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The WireDec 21, 2016The tracks don’t so much develop as flow--and don’t so much flow as slide slowly, tidally, from one pole to another. Those poles are, to put it crudely, a smooth Badalamenti-like gloom and a more polyphonic, Vangelis-style choral sound. [Dec 2016, p.69]
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UncutOct 26, 2016Strands is one of Hauschildt's finest efforts, unfolding through a dense fog of ambience and gently bubbling electronics, always staying weird and disobedient enough to offset its new-age tinge. [Dec 2016, p.30]
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Oct 26, 2016The album is highly focused and engrossing, and continues Hauschildt's run of nearly flawless albums.
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Nov 1, 2016What keeps many listeners coming back to Hauschildt’s records is precisely the promise that each album will sound practically interchangeable with the one that came before--just, perhaps, marginally better. On both of those counts, Strands succeeds, yet it also marks a shift in tone: At just eight tracks and 43 minutes long, it is noticeably more restrained.
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Oct 26, 2016It’s hard to imagine why a fan of the genre wouldn’t find much to enjoy in this gorgeous and well-executed record. At the same time, you could be forgiven for wondering whether it’s truly a necessary addition to one’s catalog, retreading as it does the conventions and expectations that ambient music has developed in the time since Brian Eno released Music For Airports in 1978.