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2 reviews »Baths is a the work of Will Wiesenfeld who is most notable for his Post-Foetus project. Here we see him having a bash at writing a modern hybrid form of dance orientated pop music that sits handily between previous Anticon releases and the slew of glow-fi, chillwave, psych pop that's doing such good business at the moment. This is a crazy fun record to be fair. Powerful multi instrumentalism as we ... »

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  • ABR105LP
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REVIEWS

Cerulean by Baths
2 reviews. Add your own review.
14 people love this record. Be the 15th!
8/10 Li'l Biz Staff review, 29 July 2010

Baths is a the work of Will Wiesenfeld who is most notable for his Post-Foetus project. Here we see him having a bash at writing a modern hybrid form of dance orientated pop music that sits handily between previous Anticon releases and the slew of glow-fi, chillwave, psych pop that's doing such good business at the moment. This is a crazy fun record to be fair. Powerful multi instrumentalism as well as excellent self sampling and home studio trickery are on full display here, oh the beats are badass too. Obvious comparisons would be Washed Out, Neon Indian or Small Black yet this brings to mind the likes of Memory Tapes, Boards Of Canada and perhaps Four Tet due to it's ability to weave dreamlike atmospherics whilst still packing a punch in the beats department. You could get your dancing thing on to these tunes no problem but it's also a reflective, meditative collection of songs full of bold songwriting ideas and strange multi layered vocal choirs that appear to sound like the same guy (technology nowadays...they can do anything). Good stuff. Totally recommended.


8/10 craig hudson Customer review, 27th July 2014

I adore it when the lyrics perfectly match the music. Even more so when the lyrics have a poetic resonance equalled by the surrounding beats. "Lovely Bloodflow" contains the most humbling lyrics I have heard in some time, "...rustle these leaves, ruffle these feathers..." for mine encapsulates the loveliness of the whole album, particularly in context of our basic physical materiality: we are nature, we are made up of blood, leaves and feathers.

Occasionally the music hits coarse and cacophonous peaks that jar slightly, but, setting up a scenario as Will Wiesenfeld wishes to construct, there needs to be this juxtaposition between the gentle and the harsh, just to show how gentle and sensitive the majority is.

The beauty of the cover art, barely there, focusing upon a colour - in this instance cerulean - complements the music's overall sensitivity. After all this is music about atoms and DNA, yours, mine, the potted geranium in the kitchen window, and Will Wiesenfeld loves every microscopic fibre of it.


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