Evita Manji
Spandrel?
Boomkat Product Review:
PAN expand their roster of pop-adjacent starlets with Evita Manji’s theatric melange of baroque pop, contemporary club, and expressive sound design RIYL Eartheater, Abyss X, Rainy Miller, Amnesia Scanner, Hyd, Arca and, of course, SOPHIE.
’Spandrel?’ presents an accomplished set of mutant pop productions that question aesthetics and their relation to emotion and the world at large. A looming sense of cybernetic melancholia colours the album’s procession of finely detailed song arrangements with fluidly sensuous rhythms, vaulted pads and puckered melodies underlining the central presence of Evita’s vocals, which shapeshift between gynoid-like to siren and hyperpop vocaloid against her tumultuous backdrops.
Working in a nebulous imaginary space between the more grown up aspects of PC Music (Hyd, SOPHIE), and the boundary realigning electronic pop mutations of PAN's own Eartheater and Amnesia Scanner, while also comparable to the post-drill dramas of Rainy Miller, the results are ripe for fans of proper emosh contemporary electronic music. Her smartly tempered feel for musical dramaturgy coolly guides the set from sci-fi initialisation of her title tune, to future diva posturing in ‘Pitch Black’ and slick slant on Latinx club music with ‘Oil/Too Much’ and the trance arp-etched dembow techno-pop of ‘Body/Prison’ in the first half. However the proceeding parts yoke back the intense detailing to reveal more vulnerable feels in the hyper-ballads ‘Lies?’ and ‘Eyes/Not Enough’, eldiing laser-guided dembow and baroque pop in ‘The Lungs of a Burning Body’, and ultimately even evoking seasonal music with the final flourish of keys and heaven-reaching vox to ‘Black Hole’.
If you can’t take heart-on-sleeve music this one’s maybe not you, but those who love to read into the concept and are susceptible to melodrama will be in their element here.
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Boomkat Product Review:
PAN expand their roster of pop-adjacent starlets with Evita Manji’s theatric melange of baroque pop, contemporary club, and expressive sound design RIYL Eartheater, Abyss X, Rainy Miller, Amnesia Scanner, Hyd, Arca and, of course, SOPHIE.
’Spandrel?’ presents an accomplished set of mutant pop productions that question aesthetics and their relation to emotion and the world at large. A looming sense of cybernetic melancholia colours the album’s procession of finely detailed song arrangements with fluidly sensuous rhythms, vaulted pads and puckered melodies underlining the central presence of Evita’s vocals, which shapeshift between gynoid-like to siren and hyperpop vocaloid against her tumultuous backdrops.
Working in a nebulous imaginary space between the more grown up aspects of PC Music (Hyd, SOPHIE), and the boundary realigning electronic pop mutations of PAN's own Eartheater and Amnesia Scanner, while also comparable to the post-drill dramas of Rainy Miller, the results are ripe for fans of proper emosh contemporary electronic music. Her smartly tempered feel for musical dramaturgy coolly guides the set from sci-fi initialisation of her title tune, to future diva posturing in ‘Pitch Black’ and slick slant on Latinx club music with ‘Oil/Too Much’ and the trance arp-etched dembow techno-pop of ‘Body/Prison’ in the first half. However the proceeding parts yoke back the intense detailing to reveal more vulnerable feels in the hyper-ballads ‘Lies?’ and ‘Eyes/Not Enough’, eldiing laser-guided dembow and baroque pop in ‘The Lungs of a Burning Body’, and ultimately even evoking seasonal music with the final flourish of keys and heaven-reaching vox to ‘Black Hole’.
If you can’t take heart-on-sleeve music this one’s maybe not you, but those who love to read into the concept and are susceptible to melodrama will be in their element here.
Boomkat Product Review:
PAN expand their roster of pop-adjacent starlets with Evita Manji’s theatric melange of baroque pop, contemporary club, and expressive sound design RIYL Eartheater, Abyss X, Rainy Miller, Amnesia Scanner, Hyd, Arca and, of course, SOPHIE.
’Spandrel?’ presents an accomplished set of mutant pop productions that question aesthetics and their relation to emotion and the world at large. A looming sense of cybernetic melancholia colours the album’s procession of finely detailed song arrangements with fluidly sensuous rhythms, vaulted pads and puckered melodies underlining the central presence of Evita’s vocals, which shapeshift between gynoid-like to siren and hyperpop vocaloid against her tumultuous backdrops.
Working in a nebulous imaginary space between the more grown up aspects of PC Music (Hyd, SOPHIE), and the boundary realigning electronic pop mutations of PAN's own Eartheater and Amnesia Scanner, while also comparable to the post-drill dramas of Rainy Miller, the results are ripe for fans of proper emosh contemporary electronic music. Her smartly tempered feel for musical dramaturgy coolly guides the set from sci-fi initialisation of her title tune, to future diva posturing in ‘Pitch Black’ and slick slant on Latinx club music with ‘Oil/Too Much’ and the trance arp-etched dembow techno-pop of ‘Body/Prison’ in the first half. However the proceeding parts yoke back the intense detailing to reveal more vulnerable feels in the hyper-ballads ‘Lies?’ and ‘Eyes/Not Enough’, eldiing laser-guided dembow and baroque pop in ‘The Lungs of a Burning Body’, and ultimately even evoking seasonal music with the final flourish of keys and heaven-reaching vox to ‘Black Hole’.
If you can’t take heart-on-sleeve music this one’s maybe not you, but those who love to read into the concept and are susceptible to melodrama will be in their element here.
Boomkat Product Review:
PAN expand their roster of pop-adjacent starlets with Evita Manji’s theatric melange of baroque pop, contemporary club, and expressive sound design RIYL Eartheater, Abyss X, Rainy Miller, Amnesia Scanner, Hyd, Arca and, of course, SOPHIE.
’Spandrel?’ presents an accomplished set of mutant pop productions that question aesthetics and their relation to emotion and the world at large. A looming sense of cybernetic melancholia colours the album’s procession of finely detailed song arrangements with fluidly sensuous rhythms, vaulted pads and puckered melodies underlining the central presence of Evita’s vocals, which shapeshift between gynoid-like to siren and hyperpop vocaloid against her tumultuous backdrops.
Working in a nebulous imaginary space between the more grown up aspects of PC Music (Hyd, SOPHIE), and the boundary realigning electronic pop mutations of PAN's own Eartheater and Amnesia Scanner, while also comparable to the post-drill dramas of Rainy Miller, the results are ripe for fans of proper emosh contemporary electronic music. Her smartly tempered feel for musical dramaturgy coolly guides the set from sci-fi initialisation of her title tune, to future diva posturing in ‘Pitch Black’ and slick slant on Latinx club music with ‘Oil/Too Much’ and the trance arp-etched dembow techno-pop of ‘Body/Prison’ in the first half. However the proceeding parts yoke back the intense detailing to reveal more vulnerable feels in the hyper-ballads ‘Lies?’ and ‘Eyes/Not Enough’, eldiing laser-guided dembow and baroque pop in ‘The Lungs of a Burning Body’, and ultimately even evoking seasonal music with the final flourish of keys and heaven-reaching vox to ‘Black Hole’.
If you can’t take heart-on-sleeve music this one’s maybe not you, but those who love to read into the concept and are susceptible to melodrama will be in their element here.
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