Reassemblage (album)

Last updated
Reassemblage
VIsibleCloaksReassemblage.jpg
Studio album by
Visible Cloaks
ReleasedFebruary 17, 2017
Genre
Length40:44
Label RVNG Intl.
Producer
  • Ryan Carlile
  • Spencer Doran
Visible Cloaks chronology
Visible Cloaks
(2015)		Reassemblage
(2017)		 Lex
(2017)
Singles from Reassemblage
  1. "Valve" / "Valve (Revisited)"
    Released: October 5, 2016
  2. "Terrazzo"
    Released: November 16, 2016
  3. "Neume"
    Released: February 2, 2017

Reassemblage is the second studio album of Portland, Oregon duo Visible Cloaks, consisting of musicians Spencer Doran and Ryan Carlile. The record is named after Trinh T. Minh-ha's 1982 documentary film of the same name, since both works observe its subject matter without showing meaning to it. Reassemblage departs from Doran's past hip-hop releases for a more high-quality style inspired by the works of Japanese synthesizer music acts such as Yellow Magic Orchestra and Ryuichi Sakamoto, all of which were featured on Doran's 2010 mix Fairlights, Mallets & Bamboo.

Contents

Reassemblage uses Doran's "fourth world Japan" music structure similar to the "fourth world" concept of composer Jon Hassell, where virtual replications of acoustic instruments specific to nations all across the globe are played together to create a virtual world. The combinations of these sounds lead to discombobulated situations to the point where the source of the sounds are unknown and all of the sonic textures "end up sounding like something else.” Reassemblage was released on the label RVNG Intl. on February 17, 2017, and landed on the American Billboard Dance/Electronic and New Age albums charts. Its cover art was created by digital installation artist Brenna Murphy, who was also responsible for creating the record's three music videos and visual environments. The album garnered generally favorable reviews from music journalists, the most positive reviews praising its unique sound.

Production and composition

“With all that Japanese stuff recorded in the ’80s, [the producers] were working in the best studios in the world at the time. It was at the peak of analogue, where analogue and digital meet at this perfect technological way of recording.”

— Spencer Doran on his Japanese music influences for Reassemblage [2]

Fact journalist Scott Wilson categorized Reassemblage's overall sound as a combination of the works of Yellow Magic Orchestra and the album R Plus Seven (2013) by Oneohtrix Point Never. [1] The album's sound palette mainly consists of high-quality, polished software instrument replication of instruments specific to many nations all over the world. [2] The album marks a shift in Doran's overall career from an instrumental hip-hop sound to a hi-fi and bright style inspired by the works of Japanese synthesizer music acts such as Yellow Magic Orchestra and Ryuichi Sakamoto that were featured on Doran's 2010 mix Fairlights, Mallets & Bamboo. [2] The clean production attribute of the record was mainly influenced by the works of Japanese engineer Seigen Ono. [1] The Japanese aspect of the record came from Doran's experience of touring the country as being a part of the Japanese label Easelmusic. [2] As Doran said, “We’re coming out of this scene of music that, for the longest time, was very lo-fi and very DIY. And now the technology has advanced to the point where it’s really easy to make things sound really clear—and that’s something I’ve always been drawn to." [2]

In making an uncanny sound for Reassemblage, Visible Cloak used complex audio production methods. [1] Creating the virtual setting of Reassemblage involved using Audio Ease's Altiverb reverb plug-in, which re-creates reverberation of real-life places, on the virtual instruments. [1] Multiple patches from the plug-in were put together to create a "psychedelic effect" where the instruments move through different spaces: "When you combine that with using these hyper-realistic software instruments it creates a confusing feeling, in that it’s something that’s very real, but you can expose the artifice the space has by playing with these impossible elements.” [1] The track "Valve" is a key example of the duo's attempt in developing an unnatural tone for the album. [1] It features a sample of spoken word vocals by Miyako Koda from "Sea of Love," a track on Japanese band Dip in the Pool's album Jupiter (1998); [3] the phonemes of what she is speaking are also translated to MIDI notes for them to be played on glassy, vapor-like synthesizer sounds which serve as a "shadow" of Koda's vocals according to Beta. [4] [5] [6] [1] [7] The album closes with "Place," a song where the duo, in the words of Wilson, uses "software that randomly generates a new set of notes every time the track is recorded to disk." [1] The note generations were inspired by John Cage's use of the ancient Chinese text I Ching and the use of prime numbers by Walter Zimmermann, and attempt to get Doran's ego "out of the process” on the album. [1]

Finlayson also labeled Reassemblage's use of voices to be an essential part of the album. "Bloodstream" begins with arpeggio lines played through synthesizers with very few snippets of someone talking popping up. Quivering sounds then come into the track which, according to Finlayson, are either meant to be synthesizer patches intended to only sound like human voices or a vocoder robot. [6] "Mask" includes mallets and artificial birdsong sounds which are abrupted also by synthesized sounds. [6] Finlayson described "Neume" as a robotic choir "update of baroque choral music." [6]

Tiny Mix Tapes critic Michael J. wrote that despite using sounds that are "no longer all that surprising," Reassemblage is "oddly intangible," which is contributed by its "low-key unpredictability" and inability to find a specific basic structure for each track. He suggests that the album's focus is more on how the sounds develop into a track rather the sounds themselves, which is impossible to figure out and "something hard to derive from a naive engagement with it": "I can perceive no internal or internalized necessity to what happens. I perceive only shapes of a tranquil kind of contingency, a host of serene accidents floating by on the surface of a deeper current I can’t see, the forces and obstacles shaping not clearly detectable as part of the audible outward appearances." [8]

Concept

Like Trinh T. Minh-ha's documentary film of the same name, Reassemblage perceives music cultures from around the globe without giving any meaning to it. Trinh T. Minh-ha.JPG
Like Trinh T. Minh-ha's documentary film of the same name, Reassemblage perceives music cultures from around the globe without giving any meaning to it.

Reassemblage uses a method similar to Vietnamese filmmaker Trinh T. Minh-ha's 1982 documentary film that it is named after, where it perceives music cultures from around the globe without giving any meaning to it. [2] As Doran explained, “I think a lot of the point of her film, which is a very feminist take on this footage that she’s shot, is that we can’t really just ascribe our own external meaning on images of other people, because meaning is easily lost when you’re from another culture looking into someone else’s vantage point." [1] All of the virtual instruments are played at the same time in attempts unforeseen to the listener as part of Doran's "fourth world Japan" concept, [1] identical to the "fourth world" concept of American composer Jon Hassell. [2] The concept involves instruments coming together to make a virtual world where they co-exist with each other. [2]

Reassemblage is summarized by RVNG Intl.'s press release as "a collection of delicately rendered passages of silence and sound that invokes – and invites – consciousness." [7] This means that the album, in the words of writer Pryor Stroud, "exalts silence just as much as it values surprise." [9] In “Bloodstream," a collection of sounds described by Stroud as "bio-mechanical gibberish" comes to a halt, but then rises again into "a long, momentous exhalation [...] surging out of that uncanny valley between the human voice and synthesizer that can be so disorienting." [9] As Stroud writes, "It’s exhilaration, weightlessness, a feeling that one is flying through clouds spitting bursts of lightning that pose no threat and offer amazing spectacles of light." [9]

Doran described "fourth world Japan" as a more varied and abstract version of Hassell's concept; unlike Hassell's works which were singular and dull, Reassemblage contains sounds from different world cultures and styles that come together to create a discombobulated situation to the point where the source of the sounds are unknown and all of the sonic textures "end up sounding like something else.” [1] As critic Andy Beta put it, "Cloaks tease [the sounds] out so that they clench and exhale, emerging as digital blips that seem as natural as breath." [5] This combination of digital and organic sound aspects lends the record a retrofuturistic feel. [2] [10] “Screen" consists of water sounds that become higher in pitch and wrinkly in tone as the track progresses, eventually turning into fabricated cellophane-esque sea textures. [5] "Terrazzo" includes a flute that digitally bends into a shakuhachi throughout the song. [5] According to writer Phillip Sherburne, the flute is the central point of the song and an example of sounds that represent the yearning of going into an alien landscape in Visible Cloaks' works. [11] Meanwhile, blips, crystal-like sounds and unharmonous koto plucks come together to create a glitched, alien world or "a celebration of faked human inflection" as Resident Advisor journalist Angus Finlayson described. [5] [6] "Circle" includes a saxophone that "is sent into bizarre, breathy paroxysms." [6] Wilson described the record's overall instrumental structure as a utopian view of a schismatic political environment and a reinforcement of multiculturalism. [1] Finlayson wrote that the album "brushes against knotty debates about appropriation, exoticism and decontextualised borrowing in the online age." [6]

Release and promotion

The lead single of Reassemblage was "Valve" / "Valve (Revisited)," released for digital download on October 5, 2016. [12] An interactive environment based on the song was released for Macintosh computers that same day [12] [13] and created by digital installation artist Brenna Murphy of art collective MSHR, [12] who also created Reassemblage’s cover art and two other music videos and visual landscapes, "Terrazzo" and "Nueme." [7] "Terrazzo" was the second single released from the album, issued on November 16, 2016 [11] and covered under NPR Music's "Recommended Dose" column. [14] Its video and virtual environment was released the same day. [15] The album's third single, "Neume," and its video premiered on February 2, 2017. [16] [17] An official release party for the album took place at the Holocene live music venue in Portland, Oregon on February 28, 2017. [18]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic 80/100 [19]
Review scores
SourceRating
The 4058/10 [20]
AllMusic Star full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [21]
Exclaim! 6/10 [22]
Pitchfork 8.7/10 [5]
Popmatters Star full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [9]
Resident Advisor 4.2/5 [6]
Tiny Mix Tapes Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [8]

Finlayson, reviewing for Resident Advisor, awarded Reassemblage the "Resident Advisor Recommends" label, calling the LP the best work using digital software to create experimental and abstract material. [6] Beta, in his review for Pitchfork , awarded the album the "Best New Album" label, honoring it to be abstract yet accessible to mainstream listeners similar to the albums Endless Summer (2001) by Fennesz and Replica (2011) by Oneohtrix Point Never. [5] Similar praise came from AllMusic journalist Paul Simpson, who called it "intriguing and accessible, yet just strange enough to stand out among all the other experimental electronic artists mining the early new age era for inspiration." [21]

Beta especially spotlighted Visible Cloaks' use of early digital sounds that was very unusual from most vaporwave releases and works in the style of Daniel Lopatin, James Ferraro, and Laurel Halo. [5] Stroud, reviewing for Popmatters , also praised its sound as distinctive from most ambient release, calling the album "of remarkable restraint that never feels overly restricted." [9] He concluded, "Visible Cloaks understand the same rules underlying ambient music that Eno does; the key difference is: because of their youth or in spite of it, they’re willing to break a few more." [9] Exclaim! , in a more mixed review, felt that Reassemblage would only interest listeners that are into the Japanese music of the 1980s the album regards. [22]

Accolades

First-half-of-year-end lists
PublicationRank
The A.V. Club [23] *
The Vinyl Factory [24] *
Year-end lists
PublicationRank
Bleep.com [25] *
Crack [26] 44
Fact [27] 12
The Morning News [28] *
Piccadilly Records [29] 99
Pitchfork (Electronic) [30] 7
The Quietus [31] 45
Resident Advisor [32] *
The Vinyl Factory [33] 14
"*" indicates an unordered list.

Track listing and credits

The following information adapted from the liner notes of Resassemblage and the RVNG Intl. press release: [3] [7]

All tracks written and produced by Spencer Doran and Ryan Carlile.

Reassemblage – Standard version
No.TitleAdditional producerLength
1."Screen" 3:21
2."Valve" (featuring Miyako Koda) 3:24
3."Bloodstream" 3:36
4."Terrazzo" (featuring Motion Graphics)Joe Williams3:41
5."Wintergreen" 2:47
6."Circle" 3:25
7."Mask" 5:38
8."Mimesis" 5:04
9."Skyscraper" 0:37
10."Neume" (featuring Matt Carlson)Matt Carlson3:44
11."Place" 5:27
Total length:40:44
Reassemblage – Digital download and CD exclusive bonus tracks
No.TitleLyricsMusicLength
12."Valve (Revisited)" (Accompaniment by Dip in the Pool)Miyako KodaTatsuji Kimura, Visible Cloaks3:13
13."Imprint"  6:13
14."Moon"  2:25
15."Cave"  2:19
Total length:54:54

Additional credits

Release history

RegionDateFormat(s)Label
Worldwide [7] February 17, 2017
 RVNG Intl.

Charts

Chart (2017)Peak
position
US Dance/Electronic Albums ( Billboard ) [34] 25
US New Age Albums ( Billboard ) [34] 10

Related Research Articles

<span class="mw-page-title-main">Digital synthesizer</span> Synthesizer that uses digital signal processing to make sounds

A digital synthesizer is a synthesizer that uses digital signal processing (DSP) techniques to make musical sounds. This in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, which play back digital recordings of acoustic, electric, or electronic instruments. Some digital synthesizers emulate analog synthesizers; others include sampling capability in addition to digital synthesis.

<span class="mw-page-title-main">GarageBand</span> Digital audio workstations for macOS, iOS, and iPadOS

GarageBand is a line of digital audio workstations developed by Apple for macOS, iPadOS, and iOS devices that allows users to create music or podcasts. GarageBand was originally released for macOS in 2004 and brought to iOS in 2011. The app’s music and podcast creation system enables users to create multiple tracks with pre-made MIDI keyboards, pre-made loops, an array of various instrumental effects, and voice recordings.

<span class="mw-page-title-main">John Mills-Cockell</span> Musical artist

John Mills-Cockell is a Canadian composer and multi-instrumentalist, perhaps best known for his ground-breaking work with progressive / avant garde Canadian groups Intersystems and Syrinx, and for his numerous works for radio, television, film, ballet, and stage.

<span class="mw-page-title-main">Suzanne Ciani</span> American musician, sound designer, composer

Suzanne Ciani is an American musician, sound designer, composer, and record label executive who found early success in the 1970s with her electronic music and sound effects for films and television commercials. Her career has included works with quadraphonic sound. She has been nominated for a Grammy Award for Best New Age Album five times. Her success with electronic music has her dubbed "Diva of the Diode" and "America's first female synth hero".

<span class="mw-page-title-main">Synthesizer</span> Electronic musical instrument

A synthesizer is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments and may be synchronized to other equipment via MIDI.

<span class="mw-page-title-main">Craig Leon</span> American record producer

Craig Leon is an American-born record producer, composer and arranger currently living in England. Leon was instrumental in launching the careers of many recording artists including The Ramones, Suicide, Talking Heads and Blondie.

<span class="mw-page-title-main">Holly Herndon</span> American composer and musician

Holly Herndon is an American artist and composer based in Berlin, Germany. After studying composition at Stanford University and completing her Ph.D. at Stanford University's Center for Computer Research in Music and Acoustics, she pursued a music career internationally. Herndon's music often includes human singing voices, is primarily computer-based, and regularly uses the visual programming language Max/MSP to create custom instruments and vocal processes. She has released music on the labels RVNG Intl. and 4AD. Her third full-length album, Proto, was released on May 10, 2019.

<span class="mw-page-title-main">RVNG Intl.</span> Record label

RVNG Intl. is an independent record label based in Brooklyn, New York. Founded in 2003 by Matt Werth, the label is run by Werth and focuses on experimental dance and electronic music, often incorporating avant-garde genres. Release formats include vinyl, CDs, and digital downloads. In 2011, they were named one of the top 50 indie labels in America by Billboard.

<i>Movement</i> (Holly Herndon album) 2012 studio album by Holly Herndon

Movement is the first studio album by American electronic musician Holly Herndon, released by RVNG Intl. on 12 November 2012. A music video for the album's title track was uploaded to the RVNG Intl. YouTube account on 29 November 2012.

<span class="mw-page-title-main">Kaitlyn Aurelia Smith</span> Musical artist

Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from the Pacific Northwest and currently based in Los Angeles. Her work prominently employs Buchla modular synthesizers. She received acclaim for her albums Ears (2016) and The Kid (2017). She has collaborated with Suzanne Ciani and Emile Mosseri.

Pauline Anna Tuell Strom was an American electronic music composer and synthesist best known under the pseudonym Trans-Millenia Consort. Strom made seven recordings between 1982 and 1988 including three LPs and four cassette tapes. Her 1982 debut, Trans-Millenia Consort, was released on Ether Ship Records.

<i>Motion Graphics</i> (album) 2016 studio album by Motion Graphics

Motion Graphics is the self-titled debut studio album of American musician Joe Williams' project Motion Graphics. Williams initially planned it to be "a synth pop record without any nostalgia," and this plan turned into an ambient album about the feeling of being able to go to limitless places due to technology. In achieving this feel, Williams used the visual programming language Max for Live to create a virtual instrument that scrolled through 100 patches at random; when a note was inputed, the instrument froze at a patch. The record's overall sound palette is a combination of organic and non-organic elements; when using software instruments that replicated real-life instruments, such as clarinets and marimbas, Williams wanted to take advantage of the “quirks and glitches within them" that lead to the instruments making sounds that they could not possibly make if performed acoustically.

<i>Music for Objects</i> 2013 EP by CFCF

Music for Objects is an extended play by Canadian electronic musician Michael Silver, known by his stage name as CFCF. The EP is a 24-minute set of eight compositions that are meant to showcase the emotion of everyday objects, a concept inspired by Wim Wenders' documentary film Notebook on Cities and Clothes (1989). Music for Objects has the same ambient feel as CFCF's previous EP Exercises (2012) but with a much more uplifting tone. Music for Objects was released in July 2013 in European territories by Dummy Records and in North America by Paper Bag Records, and garnered favorable reviews from professional reviewers upon its distribution. Some critics wrote it was enjoyable without knowing its object concept, while others praised how it represented the objects.

<i>The River</i> (EP) 2010 EP by CFCF

The River is an extended play written and produced from 2009 to 2010 by Canadian electronic musician Michael Silver, known by his stage name as CFCF. It was inspired by Werner Herzog's 1982 film Fitzcarraldo. Described by RVNG Intl.'s press release as a series of "lucid sound sequences from a lunatic mind," the experimental downtempo psychedelic new age EP was analyzed by music journalist Jonny Coleman as the story of a character who is stranded in a rural, tribal land. The River is a set of six original tracks by Silver with digital download versions of the record containing four remixes of songs from the EP by acts such as Jacques Renault, Coyote, and Games. The River was released by label RVNG Intl. on October 12, 2010 to generally positive reviews from critics, some reviewers calling its more modern-sounding cuts to be the best of the entire record.

<i>Lex</i> (album) 2017 EP / soundtrack album by Visible Cloaks

Lex is a mini-album and partial soundtrack by Portland, Oregon duo Visible Cloaks, consisting of Spencer Doran and Ryan Carlile. Continuing the experimental electronic music stylings and East and West relationship ideas of their previous work Reassemblage (2017), the album takes place in a future utopian world with aliens talking in a hybrid of several languages to the point of speaking a "non-language." The speech sounds on the album were made by Doran feeding dialects and accents to the language translation program Infovox Voice Manager.

<i>The Gradual Progression</i> 2017 studio album by Greg Fox

The Gradual Progression is a studio album by American drummer Greg Fox, released on September 8, 2017 by the label RVNG Intl. It depicts his first use of Sensory Percussion, a set of sensors created by drummer Tlacael Esparza where drum hits send MIDI data to virtual instruments. Fox used Sensory Percussion as a way to become flexible with his drumming skills and combine his interests in electronic music with drumming. The album was recorded in Brooklyn in six days and also features instrumental performances from Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye. The LP garnered favorable reviews from music journalists upon its release.

<i>UkabazUmorezU</i> 2017 studio album by Sugai Ken

UkabazUmorezU, translated in English to "slow and steady wins the race," is the fifth studio album by Japanese musician Sugai Ken and his first LP for the New York-based independent label RVNG Intl. Continuing the ambient electroacoustic style of Ken's previous albums, UkabazUmorezU is a set of musical representations of Japanese folk traditions and "artificial" versions of passageways in the Kanagawa Prefecture during the nighttime. It was released on October 20, 2017 to favorable critical reviews.

<i>Syndrome Syndrome</i> 2013 studio album by Gardland

Syndrome Syndrome is the debut studio album of Australian techno duo Gardland, consisting of Alex Murray and Mark Smith. It was released by the label RVNG Intl. on 29 October 2013. The album was produced by Gardland based on a deal RVNG Intl. leader Matt Werth made with the duo after he listened to a performance they did on the radio. Recorded in Marrickville over three weeks of improvisational sessions, Syndrome Syndrome is very harsh in tone and has an open-ended style that's unconventional to most electronic music genres. In critical reviews, Syndrome Syndrome was praised for its unique arrangement and sound methods while also being panned for its long length.

Visible Cloaks are an American electronic musical duo based in Portland, Oregon, consisting of Spencer Doran and Ryan Carlile. The duo originally emerged in 2010 as Doran's solo project, in which he explored rare groove new age music and ambient music from Japan. Carlile joined the project in 2014. Scott Wilson of Fact describes their music as "shattering the idea of “fourth world music.”

<span class="mw-page-title-main">Kate NV</span> Russian singer-songwriter, producer, vocalist and designer

Ekaterina Yuryevna Shilonosova, known professionally as Kate NV, is a Russian singer, songwriter, record producer, and designer. Alongside her solo career, she is a member of the Moscow-based rock band Glintshake. Her debut solo album Binasu was released in 2016, followed by для FOR in 2018 and Room for the Moon in 2020. In 2022, looking to raise funds for charity, she released her fourth album bouquet. Her fifth album, wow, was released in March 2023.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Wilson, Scott (February 22, 2017). "Visible Cloaks are the Portland duo bridging the gap between Ryuichi Sakamoto and 0PN". Fact . The Vinyl Factory. Retrieved March 4, 2017.
  2. 1 2 3 4 5 6 7 8 9 Huyler, Jake (February 16, 2017). "On “Reassemblage,” Visible Cloaks Have the World at Their Fingertips". Bandcamp Daily. Retrieved March 4, 2017.
  3. 1 2 Reassemblage (CD notes). Visible Cloaks. RVNG Intl. 2017. RVNGNL37.
  4. ↑ Warman, Zane (October 5, 2016). "RVNG Intl. Releases Entrancing Collab From Visible Cloaks And dip in the pool". The Fader . Retrieved March 5, 2017.
  5. 1 2 3 4 5 6 7 8 Beta, Andy (February 20, 2017). "Visible Cloaks: Reassemblage". Pitchfork . Conde Nast. Retrieved March 4, 2017.
  6. 1 2 3 4 5 6 7 8 9 Finlayson, Angus (February 24, 2017). "Visible Cloaks – Reassemblage". Resident Advisor . Retrieved March 4, 2017.
  7. 1 2 3 4 5 "Visible Cloaks – Reassemblage". RVNG Intl. Retrieved March 4, 2017.
  8. 1 2 Michael J. "Visible Cloaks – Reassemblage". Tiny Mix Tapes . Retrieved March 4, 2017.
  9. 1 2 3 4 5 6 Stroud, Pryor (March 1, 2017). "Visible Cloaks: Reassemblage". Popmatters . Retrieved March 4, 2017.
  10. ↑ Schaffner, Wyatt (February 21, 2017). "Visible Cloaks' Utopian Soundscapes Connect a Through Line From Gregorian Chants to Lil Yachty". Willamette Week . City of Roses Newspapers. Retrieved March 4, 2017.
  11. 1 2 Sherburne, Phillip (November 16, 2016). "“Terrazzo” [ft. Motion Graphics] by Visible Cloaks Review". Pitchfork. Conde Nast. Retrieved March 4, 2017.
  12. 1 2 3 "Visible Cloaks & dip in the pool – Valve / Valve (Revisited)". RVNG Intl. Retrieved March 4, 2017.
  13. ↑ "V A L V E". Visible Cloaks Official Website. Retrieved March 4, 2017.
  14. ↑ "Recommended Dose: Our Favorite Dance Tracks Of November". NPR Music. December 1, 2016. Retrieved March 4, 2017.
  15. ↑ Cheadle, Luke (November 16, 2016). "RVNG Intl. Shares Visible Cloaks Video". XLR8R . Retrieved March 5, 2017.
  16. ↑ Eede, Christian (February 2, 2017). "WATCH: New Visible Cloaks Video". The Quietus . Retrieved March 4, 2017.
  17. ↑ Ballard, Thea (February 2, 2017). ""Neume” [ft. Matt Carlson] by Visible Cloaks Review". Pitchfork. Conde Nast. Retrieved March 4, 2017.
  18. ↑ Broussard, Christina. "Visible Cloaks, Motion Graphics, Massacooramaan, Women's Beat League DJs". The Portland Mercury . Index Publishing. Retrieved March 4, 2017.
  19. ↑ "Critic Reviews for Reassemblage". Metacritic. CBS Interactive. Retrieved March 11, 2017.
  20. ↑ Whitfield, Robert (March 7, 2017). "Album Review: Visible Cloaks – Reassemblage". The 405. Retrieved March 10, 2017.
  21. 1 2 Simpson, Paul. "Reassemblage – Visible Cloaks". AllMusic. Rovi Corporation. Retrieved March 10, 2017.
  22. 1 2 Przybyslawski, Corinne (February 15, 2017). "Visible Cloaks Reassemblage". Exclaim! . Retrieved March 4, 2017.
  23. ↑ "The best albums of 2017 so far". The A.V. Club . The Onion. June 29, 2017. Retrieved December 25, 2017.
  24. ↑ "The 20 best albums of 2017 so far". The Vinyl Factory. June 30, 2017. Retrieved December 25, 2017.
  25. ↑ "Top 10 Albums of the Year 2017". Bleep.com. Retrieved December 25, 2017.
  26. ↑ "The Top 100 Albums of 2017". Crack. December 2017. p. 2. Retrieved December 25, 2017.
  27. ↑ "The 50 best albums of 2017". Fact. The Vinyl Factory. December 20, 2017. Retrieved December 25, 2017.
  28. ↑ Womack, Andrew. "The Top Albums of 2017". The Morning News . Retrieved 3 March 2018.
  29. ↑ "End of Year Review 2017: Top 100 Albums". Piccadilly Records Official Website. Retrieved December 25, 2017.
  30. ↑ Sherburne, Philip (December 18, 2017). "The 20 Best Electronic Albums of 2017". Pitchfork. Conde Nast. Retrieved December 25, 2017.
  31. ↑ "Quietus Albums Of The Year 2017, In Association With Norman Records". The Quietus . December 23, 2017. Retrieved December 25, 2017.
  32. ↑ "2017's Best Albums". Resident Advisor. December 22, 2017. Retrieved December 25, 2017.
  33. ↑ "Our 50 favourite albums of 2017". The Vinyl Factory. December 2017. Retrieved December 25, 2017.
  34. 1 2 Murray, Gordan (March 2, 2017). "Billboard Dance Chart Upstarts: Starley, Glovibes & Visible Cloaks". Billboard . Prometheus Global Media. Retrieved March 4, 2017.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.