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Having said that, nothing about Lily & #8216 & Madeline audio relies upon uniqueness; their lovely 2013 self-titled debut was effective although simple indie-folk with twinkling feathery keyboard and percussion. With maker Paul Mahern in the helm, Gases, the couple's newest, is an advanced advance which includes a broader scheme of devices along with more ornate arrangements. Eerie cello and a minimal, buzzing synth subscribe to the apocalyptic style of "Blue Blades"; spooky melodica and winking glockenspiel shimmer around the title track, which confronts the unhealthy ramifications of mismatched objectives; and the recording echo system Echoplex exacerbates the hollow, falling sensation of "Can Not Confess It," a melody explaining the problem of making a relationship clean split. Vocally, there is no question that Lily & Madeleine are siblings; the setis lilting, delicate melodies and harmonies intertwine just like a braid. The result is hypnotic when it takes to become (the psychedelic-tinged "The Hair Is Free"), sad on some songs (the short, keyboard-pushed "Lips and Sides") and deceptively simple elsewhere (the cello-grooved, calmly defiant "Peppermint Chocolate," twang-frosted "Cabin Fever"). This juxtaposition of lovely and poisonous ensures the record resonates long after it really is around, and allows Gases its teeth. Your 24/7 connection, coupled with our "share" compulsion has produced the notion of "keeping techniques" smooth, which is why anonymity's thought supports su... From Disturbance on the 1987 album Escape, Negativland called one of their tracks "Christianity Is Ridiculous.
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