AUSTRA 黑胶唱片和CD

Review: There's a playfulness running through Austra's third album which makes the themes behind the record seem even more troubling - toxic relationships, and the negative behavioural pattern we associate with them. The false facade of fine that covers a much darker reality, which could also explain the stark moodiness evident in sections and songs, with the contrast almost jarring. From the chart dance of opener 'Anywayz' or 'I Am Not Waiting', the surrealism of Annie Lennox meeting Immaculate-era Madonna B-side 'All I Wanted', to 'Risk It''s jaunty electronica, the epic mountaintop-siren number 'It's Amazing', the spectacularly crystalline chorals on closing number 'Messiah' and 'Mountain Baby' bridging the gap with its nursery rhyme into icy downtempo formula. 'HiRUDiN' is a broad showcase of style and desire to explore new ideas, fare like this is few and far between.

Review: There's a playfulness running through Austra's third album which makes the themes behind the record seem even more troubling - toxic relationships, and the negative behavioural pattern we associate with them. The false facade of fine that covers a much darker reality, which could also explain the stark moodiness evident in sections and songs, with the contrast almost jarring. From the chart dance of opener 'Anywayz' or 'I Am Not Waiting', the surrealism of Annie Lennox meeting Immaculate-era Madonna B-side 'All I Wanted', to 'Risk It''s jaunty electronica, the epic mountaintop-siren number 'It's Amazing', the spectacularly crystalline chorals on closing number 'Messiah' and 'Mountain Baby' bridging the gap with its nursery rhyme into icy downtempo formula. 'HiRUDiN' is a broad showcase of style and desire to explore new ideas, fare like this is few and far between.

Review: There's a playfulness running through Austra's third album which makes the themes behind the record seem even more troubling - toxic relationships, and the negative behavioural pattern we associate with them. The false facade of fine that covers a much darker reality, which could also explain the stark moodiness evident in sections and songs, with the contrast almost jarring. From the chart dance of opener 'Anywayz' or 'I Am Not Waiting', the surrealism of Annie Lennox meeting Immaculate-era Madonna B-side 'All I Wanted', to 'Risk It''s jaunty electronica, the epic mountaintop-siren number 'It's Amazing', the spectacularly crystalline chorals on closing number 'Messiah' and 'Mountain Baby' bridging the gap with its nursery rhyme into icy downtempo formula. 'HiRUDiN' is a broad showcase of style and desire to explore new ideas, fare like this is few and far between.

Review: Katie Stelmanis, the spectrally-voiced and ferociously-talented figure behind maverick electro-pop outfit Austra, set herself the not inconsiderable target of setting out 'a commitment to replace the approaching dystopia' with this third album, yet against all odds she's done a sterling job of marrying the icy binary chill of technology with a very human frailty to emerge with a defiant and emotionally affecting statement of intent. Indelible melody and Stelmanis' extraordinary tones may dominate, yet the sonic landscapes here - equally bracing and beatific - have the rare effect of making the listener hopeful for what 2017 has in store.

Review: Katie Stelmanis, the spectrally-voiced and ferociously-talented figure behind maverick electro-pop outfit Austra, set herself the not inconsiderable target of setting out 'a commitment to replace the approaching dystopia' with this third album, yet against all odds she's done a sterling job of marrying the icy binary chill of technology with a very human frailty to emerge with a defiant and emotionally affecting statement of intent. Indelible melody and Stelmanis' extraordinary tones may dominate, yet the sonic landscapes here - equally bracing and beatific - have the rare effect of making the listener hopeful for what 2017 has in store.

Review: Katie Stelmanis, the spectrally-voiced and ferociously-talented figure behind maverick electro-pop outfit Austra, set herself the not inconsiderable target of setting out 'a commitment to replace the approaching dystopia' with this third album, yet against all odds she's done a sterling job of marrying the icy binary chill of technology with a very human frailty to emerge with a defiant and emotionally affecting statement of intent. Indelible melody and Stelmanis' extraordinary tones may dominate, yet the sonic landscapes here - equally bracing and beatific - have the rare effect of making the listener hopeful for what 2017 has in store.