The Soft Bounce: Vinyl LP w/ Deluxe Mirror Sleeve
Trip. A simple arrangement of four letters that has many associations: a trip to the seaside, a drug trip (and so a journey into the unknown), a trip is to suddenly fall. âThe Soft Bounceâ is a trip album in the widest sense: containing nearly 45 minutes of carefully programmed music, it sets off into to the unknown, it contains pleasure and pain, doubt and transcendence, and it ends somewhere that is different from where you started.
Beginning with expansive synth washes and âLove To You Love Babyâ-style oohs, âDelicious Lightâ is immediately uplifting: weâre off on a switchback journey that will pass from light through darkness and confusion and pain to transcendence and acceptance. Darkness of a sort is forged in explosive motion (âIron Ageâ) before passing through sunshine pop (âCreationâ), first wave UK psych (âDoor To Tomorrowâ with its invocation of Emily, beloved of both the Pink Floyd and the Piccadilly Line), and the blissful Balearic emotion of âDiagram Girlâ. This passes into the American Gothic of âBlack Crowâ - that traditional avian harbinger of doom - and then weâre down the rabbit hole.
âTomorrow, Foreverâ begins in the sound of nothingness and slowly unfolds into beatless cloud reveries that are at once solemn and hopeful. Weightless, blown with the wind, you come down to earth with the skipping afro beat of âThe Soft Bounceâ: a soft female voice pleads for connection, but she is almost swamped by the stinging, shocking guitar reverb. The positive moods of âFinally Firstâ and âTriumphâ put everything back together before the all-out acid assault of âThird Myndâ: from life to death to rebirth, âyou throw the sticks up in the air, and they come down in a different patternâ.
Is it the history of human kind or a personal, individual odyssey? With guest appearances from Blaine Harrison (Mystery Jets), Euros Childs (Gorkyâs Zygotic Mynci), Jane Weaver, Holly Miranda and Hannah Peel, Erol Alkan and Richard Norris have constructed an album that is both highly enjoyable and on a deeper level, perceptual and psychological. Growth is necessary, as is adaptation to change: neither are achieved easily or without some kind of sacrifice. Operating on a level that can be verbal but is more often non-verbal, music can ease that passage.
Jon Savage, March 2016.
Trip. A simple arrangement of four letters that has many associations: a trip to the seaside, a drug trip (and so a journey into the unknown), a trip is to suddenly fall. âThe Soft Bounceâ is a trip album in the widest sense: containing nearly 45 minutes of carefully programmed music, it sets off into to the unknown, it contains pleasure and pain, doubt and transcendence, and it ends somewhere that is different from where you started.
Beginning with expansive synth washes and âLove To You Love Babyâ-style oohs, âDelicious Lightâ is immediately uplifting: weâre off on a switchback journey that will pass from light through darkness and confusion and pain to transcendence and acceptance. Darkness of a sort is forged in explosive motion (âIron Ageâ) before passing through sunshine pop (âCreationâ), first wave UK psych (âDoor To Tomorrowâ with its invocation of Emily, beloved of both the Pink Floyd and the Piccadilly Line), and the blissful Balearic emotion of âDiagram Girlâ. This passes into the American Gothic of âBlack Crowâ - that traditional avian harbinger of doom - and then weâre down the rabbit hole.
âTomorrow, Foreverâ begins in the sound of nothingness and slowly unfolds into beatless cloud reveries that are at once solemn and hopeful. Weightless, blown with the wind, you come down to earth with the skipping afro beat of âThe Soft Bounceâ: a soft female voice pleads for connection, but she is almost swamped by the stinging, shocking guitar reverb. The positive moods of âFinally Firstâ and âTriumphâ put everything back together before the all-out acid assault of âThird Myndâ: from life to death to rebirth, âyou throw the sticks up in the air, and they come down in a different patternâ.
Is it the history of human kind or a personal, individual odyssey? With guest appearances from Blaine Harrison (Mystery Jets), Euros Childs (Gorkyâs Zygotic Mynci), Jane Weaver, Holly Miranda and Hannah Peel, Erol Alkan and Richard Norris have constructed an album that is both highly enjoyable and on a deeper level, perceptual and psychological. Growth is necessary, as is adaptation to change: neither are achieved easily or without some kind of sacrifice. Operating on a level that can be verbal but is more often non-verbal, music can ease that passage.
Jon Savage, March 2016.
Original: $73.42
-65%$73.42
$25.70Description
Trip. A simple arrangement of four letters that has many associations: a trip to the seaside, a drug trip (and so a journey into the unknown), a trip is to suddenly fall. âThe Soft Bounceâ is a trip album in the widest sense: containing nearly 45 minutes of carefully programmed music, it sets off into to the unknown, it contains pleasure and pain, doubt and transcendence, and it ends somewhere that is different from where you started.
Beginning with expansive synth washes and âLove To You Love Babyâ-style oohs, âDelicious Lightâ is immediately uplifting: weâre off on a switchback journey that will pass from light through darkness and confusion and pain to transcendence and acceptance. Darkness of a sort is forged in explosive motion (âIron Ageâ) before passing through sunshine pop (âCreationâ), first wave UK psych (âDoor To Tomorrowâ with its invocation of Emily, beloved of both the Pink Floyd and the Piccadilly Line), and the blissful Balearic emotion of âDiagram Girlâ. This passes into the American Gothic of âBlack Crowâ - that traditional avian harbinger of doom - and then weâre down the rabbit hole.
âTomorrow, Foreverâ begins in the sound of nothingness and slowly unfolds into beatless cloud reveries that are at once solemn and hopeful. Weightless, blown with the wind, you come down to earth with the skipping afro beat of âThe Soft Bounceâ: a soft female voice pleads for connection, but she is almost swamped by the stinging, shocking guitar reverb. The positive moods of âFinally Firstâ and âTriumphâ put everything back together before the all-out acid assault of âThird Myndâ: from life to death to rebirth, âyou throw the sticks up in the air, and they come down in a different patternâ.
Is it the history of human kind or a personal, individual odyssey? With guest appearances from Blaine Harrison (Mystery Jets), Euros Childs (Gorkyâs Zygotic Mynci), Jane Weaver, Holly Miranda and Hannah Peel, Erol Alkan and Richard Norris have constructed an album that is both highly enjoyable and on a deeper level, perceptual and psychological. Growth is necessary, as is adaptation to change: neither are achieved easily or without some kind of sacrifice. Operating on a level that can be verbal but is more often non-verbal, music can ease that passage.
Jon Savage, March 2016.
